In towards a theory periodical genre, Margaret Beetham observes that the material characteristics periodical ... have consistently been central to its (22-23). In particular, Beetham emphasizes, the relation blocks text to visual material is a crucial part of periodical's processes signification and reader's experience making meaning out its time-stamped yet open-ended issues (24). While this theoretical position underlies much excellent critical work in periodical studies, it is less evident in electronic repositories on which research in field increasingly relies. In this paper, I examine what it might mean to inform our digitization practices with a theory periodical hypertext as a remediated object. Focusing on specific editorial problem periodical pages decorated with textual ornaments, I take as my case study The Evergreen: A Northern Seasonal (1895 to 1897), a Scottish magazine scheduled for markup and publication on The Yellow Nineties Online. Making remediated Celtic ornament a structural feature its aesthetic design and an integral expression its larger political agenda, Evergreen reminds us what is at stake if our own electronic remediation practices are not adequate to periodical objects we study. The Evergreen and periodical form: politics ornament In common with The Yellow Book (1894 to 1897), The Evergreen: A Northern Seasonal was a short-lived aesthetic magazine with physical features a book and an intense and obvious identification with a symbolic colour. With its high-quality paper, excellent printing, and single-column layout within wide margins, The Evergreen clearly took The Yellow Book for its model. But while London-based Yellow Book was (and is) associated with decadence, Edinburgh-based Evergreen championed regeneration and renewal--politically, spiritually, and aesthetically--as an organ Celtic revival and Scottish Renascence. Despite these differences, magazines' commonalities linked them in a periodical network production and consumption. Among those who contributed to both serials were poet Ronald Campbell Macfie and Glasgow School artist Edward Atkinson Hornel. A number The Evergreens artists show influence Aubrey Beardsley's black-and-white pen work in their designs. William Macdonald, who co-wrote Proem to The Evergreens first number, sent an inscribed copy magazine to Beardsley as co-editor The Yellow Book; he would have received this Scottish tribute just as he was being fired from his post after arrest Oscar Wilde in April 1895 (Houfe, Fin de Siecle 105). Notably, The Bookman reviewed volume 5 The Yellow Book (which appeared late that month, hastily cleansed Beardsley's artwork) together with first issue The Evergreen, declaring: It is impossible to keep from grouping these two 'seasonals' together, and yet green is not nearly so unlike yellow as these northern and southern cousins are unlike each (Rev. 91). If periodical form is governed, as James Mussell argues, by seriality, miscellaneity, and an ontological condition existence that posits endless continuity, The Evergreen is an outlier (24). Calling attention to itself as A Northern Seasonal, The Evergreen planned its first series to terminate with fourth issue and substituted natural cycles for calendar chronologies on which other Victorian magazines were serialized (day, week, month, quarter, year). Although sometimes described as a quarterly, The Evergreen is actually a semi-annual. The first two numbers, Spring and Autumn, were published around their respective equinoxes in 1895, while second two, Summer and Winter, were published around their respective solstices in 1896 and 1896/7. Troubling notion periodical form as a serial released into world according to regular intervals industrial time, format The Evergreen asserts an alternative relationship to temporality and body. …