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1890s Little Magazines: Yellow Nineties 2.0

Do you know the Yellow Nineties 2.0 database? It is an open-access resource dedicated to the study of eight late-Victorian “little magazines” produced between 1889 and 1905. The brief period is known as the “Yellow Nineties” after The Yellow Book, a controversial quarterly publication that embodied the “decadent” culture of the fin de siècle.

Toronto Metropolitan University professor Lorraine Janzen Kooistra spearheaded the Yellow Nineties 2.0 website, a digitization project that has evolved into a world-class online database composed of searchable editions of each publication, a database of textual ornaments found in the issues, peer-reviewed essays on the “little magazine” contributors and much more research on the period and the people who produced these works. The scholarly site is dedicated to the study of The Yellow Book, The Dial, The Pagan Review, The Evergreen, The Savoy, The Pageant, The Green Sheaf and The Venture. Many of the physical publications held at Toronto Metropolitan University Libraries Special Collections were digitized to create online versions for the database.

To celebrate the Yellow Nineties 2.0’s completion, TMU’s Special Collections is hosting an exhibition until the end of April 2024 showcasing the Victorian “little magazines” in our holdings.

Over the years, the “little magazines” held in Special Collections alongside the Yellow Nineties 2.0 database have facilitated interactive student workshops and research creation through TMU’s English department among other partnerships on campus. Explore the Y90s Classroom website to learn more about the research and exhibitions created using these collections.

Student have shared their initial reactions after being introduced to the Yellow Nineties 2.0 and the physical copies held at TMU Special Collections below:

What a treat to hold a piece of art and literary history in your hands! Interacting with the collection online and in person is like night and day – they complement each other. While the online collection is wonderful for facilitating remote research, these magazines truly are art objects and must be appreciated in their proper, corporeal form. Nothing can compare to the opportunity to interact with the item itself. It’s a tremendous privilege to reach into the past and touch the same pages that were lovingly designed, printed, and bound, by literature lovers of the past. While there are no time-machines at TMU, historical literary collections are the next best thing.

Cameron Wheeler, TMU English Department Student

History preserved in time—a glimpse at the lives and creative pursuits of those who lived over a century before us.

It was very interesting to me that quite a large amount of the pages in some of the magazines were white, compared to present-day magazines which cover every single empty space with something. This really allows the reader to focus their attention on the sole thing that the page is presenting to them, whether it be a short story, a poem or a piece of art.

Erik Tahiliani, TMU English Department Student
page from The Evergreen with a poem titled Love Shall Stay
Love Shall Stay by Margaret Armour from The Evergreen, Autumn 1895

To view the current exhibition 1890s Little Magazines: Art for Art’s Sake in Print , visit us on the 4th floor of the TMU Libraries Building. The current exhibition, available until April 30th 2024, features several of the “Little Magazines” held at TMU Special Collections, including The Dial, The Yellow Book, The Evergreen, The Savoy, The Pageant and The Venture.

1890s Little Magazines: Art for Art’s Sake in Print

by Holly Forsythe Paul

After the great success of the Kelmscott Press under the direction of William Morris (1834-1896), artists and bookmakers recognized that there was a niche audience willing to buy expensive books with daring or progressive subject matter as long as they were beautiful. 


This change in the notion of the reading public, its taste and, particularly, its morality, liberated artists to make increasingly exotic books and periodicals. The ‘little magazines’ of the 1890s sprang up in this context. Beautifully designed and illustrated, they embody a different set of values from those we associate with Victorian orthodoxy: celebrating gendered, sexual, regional, or social alternatives.

Printing changed in the 1890s, starting with the Pre Raphaelite concept of total book design, and the Arts & Crafts return to artisanal craftsmanship. High-quality volumes could be sold for very high prices and no longer needed a mass audience in order to become financially viable productions. First-rate artists were drawn from the canvas to the page as technological developments gave them more control and the development of a niche, connoisseur audience gave them more thematic flexibility. The “Little Magazines” of the 1890s are among the most prized results: an outburst of sophisticated, beautiful publications by the most talented, avant-garde artists of the Aesthetic Movement.

The current exhibition, available until April 30th 2024, features several of the “Little Magazines” held at TMU Special Collections, including The Dial, The Yellow Book, The Evergreen, The Savoy, The Pageant and The Venture.

The Dial: An Occasional Publication (5 issues, 1889-1897)

Produced by joint editors Charles Ricketts (1866-1931) and Charles Shannon, The Dial featured art and literature, much of it produced by a core bohemian circle who congregated at Ricketts and Shannon’s home. Unlike most Art Nouveau magazines, The Dial prominently features wood engraving and lithography, illustrative techniques in which the artist controls the means of production. Although only five issues were produced by a small group of artists for a niche audience. the artisanal integrity and harmonious design of The Dial had a major impact, influencing a revival in wood engraving and leading to Ricketts’s founding of The Vale Press (1896-1904).

The Yellow Book: An Illustrated Quarterly (13 issues, 1894-1897)


The Yellow Book embodies the “decadent” culture of the fin de siècle. Aubrey Beardsley (1872-1898) proposed a quarterly that would focus equally on art and literature to the publisher John Lane (1854-1925) with Beardsley as art editor & principal artist while Henry Harland (1861-1905) acted as literary editor. Taking the colour yellow as a nod to risqué Continental literature and producing grotesque and suggestive images designed to shock the uninitiated, Beardsley courted controversy and found it. Fearful of Beardsley’s association with Oscar Wilde (1854-1900) when the latter was arrested for “gross indecency,” Lane fired Beardsley. The change from daring to conservative content that starts with the fifth issue highlights Beardsley’s impact on the early volumes.

The Evergreen (4 issues, 1895-1896/7)

Reflecting the diverse concerns of its polymath sponsor, Patrick Geddes (1854-1932), The Evergreen blends interests in ecology and urban renewal with a celebration of the Scottish Renascence and the Celtic revival. 


These conservationist & post-colonial priorities are manifest in the periodical’s appearance, particularly its type. The Evergreen was printed by Edinburgh’s foremost arts-and-crafts printer, Walter Blaikie (1848-1928), and deliberately revives Celtic art in its ornaments. Copies bearing the coloured leather bindings designed by Charles Mackie (1862-1920), with a stylized tree on the upper cover, are especially prized.

The Savoy (8 volumes, 1896)

When Aubrey Beardsley was fired from his role editing The Yellow Book, Leonard Smithers (1861-1907) seized the opportunity to enlist the talented artist. Like The Yellow Book, The Savoy combined art and literature, and adopted the format of the book, with stiff board covers, high-quality paper, and fine illustrations. In its pages, we can trace Beardsley’s departure from the influence of Japanese woodcuts to the rococo style of 18th-century France, with much more fine detail and texture. After two quarterly issues, Smithers retooled The Savoy as a monthly magazine, changing its format, streamlining the contents, and lowering the price. Although it ultimately failed to find an audience, it is a remarkable attempt to extend avant-garde art to a wider public.

The Pageant (2 volumes, 1896 & 1897)

Edited by Charles Shannon (1863-1937) and Gleeson White (1851-1898), The Pageant connects the little magazines to the earlier genre of the Christmas Annual. Like the Ladies’ Annuals that had been a dominant genre in the book market in the 1830s, The Pageant offered reproductions of famous works of art in print. Unlike its predecessors, this avant-garde journal had a distinctly sophisticated & intellectual array of content, including art history, ancient myth, modern western culture, and decadent cosmopolitanism. In this respect, The Pageant connected the Aesthetic movement to a long tradition of European art.

The Venture: An Annual of Art and Literature (2 issues, 1903-1905)

The Venture was published by gallery owner John Baillie (1868-1926) and edited by Laurence Housman (1865-1959) and W. Somerset Maugham (1874-1965). Determined to make The Venture into a “book beautiful”, Baillie enlisted James J. Guthrie (1874-1952) to print the letterpress and wood engravings of the first volume and Bernard Newdigate (1869-1944) to print the letterpress for volume two in collaboration with specialists in etchings, line blocks, lithographs, and photogravures. 
The Venture is beautiful and notable for its high literary quality, but failed to find a large audience. As its title indicates, producing a high-brow annual was always imagined as a risk.

Cover of The Venture with a person using a bow and arrow

2022 Alcuin Awards for Book Design

Since 1984, the Alcuin Society has recognized excellence in book design with a national awards program. The TMU Libraries are happy to showcase the award winners in nine trade book categories for the 2022 publishing period. The books will be on display in the exhibition window outside of the Archives & Special Collections (ASC), 4th Floor of the Library building, from November 7-29, 2023.

Books are judged in the following categories:

  • Children’s picture books
  • Comics (book-length comics with strong visual storytelling and dedication to production values; e.g., graphic novels)
  • Limited editions
  • Pictorial, including exhibition catalogues
  • Poetry
  • Prose: fiction
  • Prose: illustrated
  • Prose: non-fiction
  • Reference, including how-to, DIY, cooking, travel

See The Alcuin Society’s website for a full list of the 35 winners.

Interested in reading these fabulous books? The TMU Libraries have several of the award winners in the collection, including the titles highlighted below:

All of the books are on loan from the Alcuin Society and the Toronto Metropolitan University Libraries are pleased to be one of the Toronto stops for this national touring exhibition. Later, the books will be touring Germany. For a full list of venues, see the Alcuin Society website.

LGBT History Month

Explore the vibrant 2SLGBTQ+  history at TMU! For LGBT History Month we are highlighting key moments and achievements of the 2SLGBTQ+ communities at TMU and more broadly in Toronto.

The Wilde ’82 History Conference was one of the first North American gatherings dedicated to the recovery of LGBT histories. It was held on TMU campus on June 30-July 3 1982. The name of the conference was in commemoration of the 100th anniversary of Oscar Wilde’s famous North American Tour.

In 1986, TMU started offering the first LGBT course called “New Perspectives on Gay and Lesbian Realities.” The course was aimed at members of the LGBT community, allies and families.

 During the 1980s and 1990s, the TMU theatre hosted the Lesbian and Gay Community Appeal’s annual fundraiser called Fruit Cocktail. The show included vaudeville-style acts with cast members dressed in fruit costumes!

In 1992, TMU’s campus community radio station CLKN recorded a program at the Pride parade. Listen CKLN’s Queer Radio pride report.

Did you know the TMU Libraries has copies of the Body Politic, a Canadian monthly queer magazine published from 1971 to 1987? It was one of Canada’s first significant gay publications, and played a prominent role in the development of the LGBT community in Canada. In 1973, the newspaper also spurred the creation of the ArQuives in Toronto in 1973, one of the largest independent 2SLGBTQ+ archives in the world and the only archive in Canada with a mandate to collect at a national level.

cover of Body Politic: A magazine for gay liberation

The Body Politic – issues available online and in Special Collections

Throughout the month of October, visit our LGBT History Month display on the 4th floor of the Library building to view more material from Archives & Special Collections related to TMU queer history, or join us for the Pink Libraries Tour on October 24th and 26th.

Grant Collingwood Fonds

If you’re looking for photographs from the 1940s to 1990s taken in Ontario, there is a wonderful collection at the Archives and Special Collections waiting for you!

The Collingwood collection was donated to the Archives & Special Collections in 2021 by a relative of the photographer. The collection consists of 35 mm and  2 ¼ negatives, prints, and textual records. The volume of the collection is high and it is being processed and it will be added to our database. A part of the collection consists of  acetate based negatives suffering from vinegar syndrome. Vinegar syndrome is a term that refers to the odor of vinegar that is emitted due to hydrolysis of the acetate base of the negatives. The deteriorated negatives require special care and handling practices and due to their condition are not accessible for viewing in the reading room. The Archives and Special Collections is in the process of digitizing the deteriorated negatives before moving them to cold storage to increase accessibility to the collection. 

Harold Grant Collingwood was born on August 4, 1909, in Exeter, South Huron, Huron, Ontario and died at the age of 87 in May 1996. As an avid photographer, he photographed well-known jazz musicians, street views, buildings, events and venues. He was a commissioned photographer who took photographs for numerous companies namely the Mclean Hunter newsletter and Chatelaine magazine. In his portfolio, there are photographs depicting the office culture of the 40s to 90s in Canada. You will be able to find photographs of important events like the Eaton’s main store demolition and buildings like the old City Hall and the new City Hall. As a result of the variety of subjects that Collingwood photographed, this collection can be used for researchers who are interested in Toronto street views, events and even fashion between the years 1940 and 1990. Additionally, since Collingwood was commissioned to photograph events for companies and businesses, it can also be an excellent resource for researching the existing industries and businesses in Canada during that time period. 

Drop by the Archives and Special Collections Department on the 4th floor of the library to see the current exhibition of the Collingwood collection. If you are interested in learning more about this collection you can check our database.

Thinking inside the box: Photography

On a weekly basis Archives and Special Collections gets asked the question “What do you have stored in all those boxes”. In answer to this query, we introduce our “Thinking Inside the Box” exhibit and blog series. The series aims to showcase what we have stored away on shelves and in boxes out of the public eye. “Thinking Inside the Box – Photography” is the first in this series.

Ryerson Library’s Special Collections was founded in 2005 with the donation of the Kodak Canada Corporate Archive and Heritage Collection. Since this time, donations of photography and film-related materials have grown Special Collections exponentially, making up a major part of its holdings. Books, periodicals, photography and developing equipment are just some of the items we house. The camera collection boasts almost 800 cameras ranging in dates from the late 1860s to the early 2000s and include examples of miniature, instamatic, panoramic, and enlarging models.

The exhibit in the Archives and Special Collections reading room features some of this large collection of materials. The exhibits showcase a variety of cameras including: miniature; novelty; movie; flash; Polaroid; twin lens; and varied format. The exhibit also features other camera and developing equipment. The following images showcase a few of the artifacts on display

The exhibit runs until October 31, 2019.

Ryerson 7025 – Student Housing

This year (2018) marks a special Anniversary at the University – a double anniversary. It has been 70 years since the founding of the school and 25 years since it achieved University status.

In conjunction with University wide celebrations, The University Archives has created an exhibit, running June 1 – October 31, looking back at the history of the school. For each month the exhibit is open we will feature in our blog one of the 5 themes of the exhibit: 5 pivotal moments in Ryerson’s history, Student Groups and Clubs, Student Government, Student Housing, and Athletics and Intramurals.

This month marks the start of a new school year and for thousands of Ryerson students the first time living away from home. So it is fitting that for September’s blog we will look at student housing at Ryerson.

When Ryerson first opened in 1948, there was no campus housing for students. Students rented their own apartments, lived in rooming houses or in various YMCA or YWCA facilities. For the 1957-1958 school year Ryerson’s Students’ Adminstrative Council started a housing registry – to help students find accommodations in the city.

Ryerson Housing Registry, 1984

Church Street Annexes

In the late 1950s – early 1960s Ryerson purchased 323 and 333 Church Street for the purpose of providing housing to male students. Between 10 and 12 students lived in each building. After Kerr Hall residence opened in 1960, the students rooming in the Church Street residences were allowed to use Kerr Hall’s amenities.

Kerr Hall – Eric Palin Hall

Kerr Hall, renamed Eric Palin Hall in 1969, was Ryerson’s first residence. An all male dormitory that housed 42 students. Located in the refurbished Working Boys Home at 63 Gould Street (Now Oakham House). It opened in the Fall of 1960. In its first year running it cost students $10 per week to live there. It closed in 1972.

Bond House – O’Keefe House

Bond House opened its doors as a men’s residence in 1964. Home to 33 students on 3 floors, it changed its name to O’Keefe House in 1978. It would eventually become a co-ed residence. O’Keefe House closed its doors at the end of the 2017-2018 school year.

Bond House/O’Keefe House

Neill-Wycik College

The Student Housing group of the Ryerson Students’ Administrative Council joined the Co-op College and applied for incorporation in 1967 under the name “Neill-Wycik” – Neill for A. S. Neill the founder of Summerhill School in the U. K. and Wycik in honour of Mama and Papa Wycik.

The co-operative ran 3 (all male and co-ed) houses in Toronto for Ryerson students. They were located at 707 Spadina Avenue, 310 Jarvis Street, and 325 Church Street. They also rented 2 floors in the Rochdale College co-operative building at 341 Bloor Street West starting in 1968.

325 Church Street (RG 95.1.13.03.01)

The purpose built Neill-Wycik College student residence building opened in November of 1970. It housed 800 students on 22 floors.

Neill-Wycik College (RG 122.10.094)

International Living/Learning Centre

Hotel Ibis, located at 240 Jarvis Street, was purchased by Ryerson Polytechnical Institute in August of 1993. The 11 storey building would be home to 270 co-ed students as well as the new home for the Hospitality and Tourism Management Program at Ryerson.

International Living/Learning Centre (RG 395.40.16)

Pitman Hall

Pitman Hall is located at 160 Mutual Street. It has 14 floors and 565 rooms – with each floor having communal kitchen, lounge, and laundry facilities. The cafeteria is located on the main floor. This residence is co-ed.

Pitman Hall (RG 395.40.16)

HOEM Residence

Opened in the Fall of 2018, Ryerson’s newest residence HOEM is Ryerson’s largest residence with 30 floors and 593 rooms. All suites are fully furnished and include a kitchen, living room, and single, private bedrooms. A co-ed residence that is open to both first and upper year students. HOEM was built and owned by Canadian Student Communities Inc. and is operated in partnership with the University. To learn more about HOEM, visit their web page here.

HOEM Student Residence was built and is owned by Canadian Student Communities Inc. It is operated in partnership with Toronto Metropolitan University

To learn more about Ryerson’s history – please visit the Archives and Special Collections located on the 4th floor of the library in Room LIB404.

Stay tuned for month for the final blog in the series – Student Athletics and Intramurals.

Ryerson 7025 – Student Government

The University and Archives has created an exhibit, running June 1 – October 31, looking back at the history of the school. For each month the exhibit is open we will feature in our blog one of the 5 themes of the exhibit: 5 pivotal moments in Ryerson’s history, Student Groups and Clubs, Student Government, Student Housing, and Athletics and Intramurals.

For August’s post – we will delve into the history of student government on campus.

The Ryerson student union has held many names since the inception of the Ryerson Polytechnical Institute. In 1948, the first iteration of the student assocaition was called the Students’ Administrative Council (SAC).  In 1970, it changed its name to the Students’ Union of Ryerson Polytechnical Institute (SURPI), and between 1989 and 1996 it was know as Ryerson Students’ Union (RSU). In the mid-1990s, the union was renamed the Ryerson Students’ Administrative Council (RYESAC), and in 2006 it became the Ryerson Students’ Union (RSU) as we know it today.

Ryerson’s first Student Administrative Council (RG 95.1 SAC)

Initially, the student council’s budget was set by the Institute’s administration and the treasurer position was filled by an instructor. At the time, the student union’s main goal was to organize social and extracurricular activities for the student body. They organized Homecoming Weekend, Open House, the annual student comedy show called RIOT and The Ryerson Opera Workshop (ROW).

Ryerson Opera Workshop’s Alice in Wonderland (RG 718.03, Photographer: Jerry Davey)

By the 1960s, the student association evolved into an elected self-governing body that administered its own funds and became a platform for student activism. In 1966, Janet Weir, a secretarial science student became the first woman elected as SAC president. Weir organized a student-led protest called “Booxodus” to advocate for a larger book collection in the new library building. On November 20, 1967, students were asked to borrow six books from the library to demonstrate the limited resources available at Ryerson. The protesters borrowed 3,000 books from the library, representing almost a third of the overall holdings. The campaign was successful, and funds were allocated to increase book purchases when the new library would be completed in the 1970s.

Ryerson Library Booxodus (Photo montage from the book Together for Change by Ronald Stagg)

The Continuing Education Students’ Association of Ryerson (CESAR) was founded in 1979 to represent the large proportion of students enrolled in part-time and evening courses. Through the years, CESAR has collaborated with RSU on campaigns such as pedestrianizing Gould Street, eliminating the use of bottled water on campus and stopping tuition hikes. The organization also focuses on issues specific to Continuing Education students, such as daycare service and full financial credit for part-time studies.

Night Student News June 30th 1981 (RG 24.1)

In the early 1990s, the student council lobbied Ryerson to first install recycling bins on campus, and eventually to make them available campus-wide. By the mid-1990s, they organized several student demonstrations in protest of tuition hikes. The president at the time, Victoria Bowman, brought 30 bags of ice to the President’s office as part of a tuition freeze protest.

RyeSAC SoapBox Newsletter Fall 1997 (RG 79.59)

Ryerson’s student government has certainly changed through the years, but it has and will continue to undertake three major roles for the Ryerson community: provide free or affordable services to students, organize social and community-oriented events, and the role of an advocacy group dedicated to improving the condition of students on campus.  

Stay tuned for next month’s blog when we explore the history of student housing at Ryerson!

Ryerson 7025 – Student Groups and Clubs

The University Archives has created an exhibit, running June 1 – October 31 2018, looking back at the history of the school. For each month the exhibit is open, we will feature in our blog one of the 5 themes of the exhibit: 5 pivotal moments in Ryerson’s history, Student Groups and Clubs, Student Government, Student Housing, and Athletics and Intramurals.

For July’s blog – let’s explore the history of Student Groups and Clubs at Ryerson.

In the late 1940s, there were only a handful of student groups and clubs. The “Hi Ho” Riding Club gathered approximately 40 students every Saturday at the Three Gaits Riding Club in the east end of Toronto. More than just horsing around, the afternoon of riding lessons also included a time to socialize with refreshments and dancing.

Ryerson Hi Ho Riding Club (RG 95.1 Clubs – Riding Club)

The Circle K Club at Ryerson was founded in 1952 as part of the Kiwanis community service organization. The club organized creative fundraisers such as dance marathons, car rallies, movie nights and blood drives to provide funding for first-year students with financial difficulties. The RyeHam Amateur Radio Club was established in 1953 to provide a space for Ham Radio enthusiasts to improve their skills. The club’s station VE3RIT was located in the basement of Kerr Hall. RyeHam gathered amateur radio contacts from over 150 countries, and offered a radio messaging service to both international and out-of-town students. The club’s activities included sponsored auctions, antenna-fixing parties and a portable operations set up during student orientation on the Toronto Island. By 1956, the club had 42 members, 12 of whom were licensed amateur radio practitioners.

RyeHam Radio Club (RG 95.1 Clubs – Ryeham)

By the 1960s, there were over 30 student clubs and societies organized by undergraduate students. The Ryerson Ski Club had one of the largest memberships on campus. The purpose of the club was to promote skiing as either pleasure or competitive sport, through the use of guest speakers, films and workshops. A typical club meeting included a slide show from the previous year’s fun weekend on the hills and a demonstration by a certified ski instructor on a synthetic slope.

Ryerson Ski Club at Blue Mountain (RG 4.11.2)

In the 1970s, Ryerson International Student Club (RISC)  was one of the most progressive and largest social groups on campus. It was established to support the interests of international students, which was approximately 1 out of 10 students attending Ryerson at that time. One of the club’s major accomplishments was removing the mandatory attendance of student police at dances. RISC organized debates, tours, dances and had a reception committee to welcome international students to Ryerson and support their arrival to Canada.

Student groups also include religious, political and cultural-based associations. Two of Ryerson’s largest cultural student association are the Chinese Student’s Association and the Caribbean and African Student’s Association.

Ryersonian Newspaper November 19th 1969 (C 001.111.01 Clubs – Cultural)

In the 1980s, the Ryerson Women’s Centre was finally recognized as an official student organization, with the goal to improve the status and condition of women at Ryerson through education and action. The Women’s Centre is the student union’s oldest community service. In 2012, the organization changed its name for The Centre for Women and Trans People. This pioneer student centre led the way for other student equity service groups such as RyePride and the Racialized Student Collective.  

Women’s Centre Promotional Notices (RG 706.02)

Today, the Ryerson Student Union funds and supports over 200 Student Groups, Course Unions, and Graduate Student Associations. Stay tuned for next month’s post where we will look at the evolution of Ryerson’s student unions.

New Exhibition: Projecting Magic

Have you ever wondered what people watched at home and in theaters before Netflix and the invention of cinema? This exhibition hopes to demystify one aspect of pre-cinematic technology: magic lantern projectors. These early optical devices used oil or gas light sources to project glass slide images onto a screen. Some say magic lanterns are the precursors to Powerpoint presentations!

The first report of the construction of a magic lantern is generally considered to be referring to the Dutch scientist Christiaan Huygens in 1659. It was inspired by precedent optical inventions such as the camera obscura (which was a room containing a pinhole that a scene was projected through onto the opposite wall), and magic shadow shows which used puppets and hands to recount stories.

Lampascope Boule magic lantern, meant to be placed above an oil lamp.

By the eighteenth-century, the magic lantern was “openly displayed” for public events by traveling lanternists in public venues. Several showmen used the lanterns to produce horror shows, popularly known as “Phantasmagoria” shows. These presentations projected ghostly images onto smoke screens to create the effect of conjuring evil spirits.

Initially lanterns were illuminated by candlelight or oil lamps, but this did not produce enough light to project a clear image from afar. Lanternists began to use limestone in the early 1800s, as they could successfully be used for projection in large theaters. Limelight is produced through the combustion of hydrogen and oxygen directed at a piece of lime (calcium oxide). This method was quite complex and potentially hazardous, since at the time putting gas under pressure was achieved by sandwiching rubber bags filled with gas between two pieces of wood.

Magic Lantern Slide by the German manufacturer Ernest Plank, with their trademark initials E.P.

By the mid 1800s, a huge variety of magic lanterns became available to the professional and home market. On display in the exhibit, we have lanterns with varying functions, from a decorative circular lantern meant to be placed above an oil lamp at home, to a large biunial (or double lens) lantern that could be used in large halls for theatrical presentation or educational lectures.

Slides also varied in their typology, becoming more detailed and elaborate with each new iteration. Initially they were rectangular strips of glass with hand painted imagery and a mahogany wood border. When separate wooden slide carriers were developed, the wooden border attached to the wood slides themselves was removed from the design. Then, the illustrations featured on the glass portion went from being hand-painted to mechanically produced, and by the mid 1800s photographic slides came into production as well.

Magic lantern projection also demonstrates the aspiration to present not only static, but moving images to an audience. Lanternists would use panoramic slides, which when passed in front of the projector’s lens would create the illusion of movement. This quickly progressed into animated images which came about with creation of ingenious mechanical slides. This included rack-and-pinion slides where glass discs were rotated using a handle (and which were often astrologically themed), lever slides, or single pulley slides which used a rope pulley system.

Items on display are part of a recent donation of magic lantern projectors and slides from John Tysall. Stop by the Archives and Special Collections Department on the 4th floor of the Ryerson Library to see the new exhibit located in the display case by the 4th floor reading room doors. The exhibition is designed and curated by Jocelyn Oprzedek and Olivia Wong.