Fugue

Fugue (pronounced fyoog)

(1) In music, a polyphonic composition based upon one, two, or more themes, which are enunciated by several voices or parts in turn, subjected to contrapuntal treatment, and gradually built up into a complex form having somewhat distinct divisions or stages of development and a marked climax at the end.

(2) In psychiatry, as dissociative fugue (previously called a fugue state or psychogenic fugue), a period during which a person experiences loss of memory, often begins a new life, and, upon recovery, remembers nothing of the amnesic phase.

(3) In literature, poetry, painting etc, a composition which resembles a fugue in structure or in its elaborate complexity and formality.

(4) In cryptography, a hash function written by IBM.

1590-1600: From the French fugue, from the Italian fuga (flight; a running away, act of fleeing, ardor), from the Latin fugere (to flee) & fugare (to chase), from fuga (act of fleeing (literally “flight”)), from fugiō (to flee), the related word in Ancient Greek was φυγή (phugḗ); a doublet of fougue.  The current spelling in English is noted from the 1660s and is from the French version of the Italian word; the plural is fugues.  The (rare) related forms include fuguist, fuguing, fugued & fuguer but although the adjective is fugal, the more common way to convey the adjectival sense is “fugue-like”.

Most associated with music, a fugue is a composition founded upon one subject, announced at first in one part alone, and subsequently imitated by all the other parts in turn, according to certain general principles to be hereafter explained.  The idea behind the musical form “pertaining to a fugue; in the style of a fugue” is thought to be based in the metaphor that the first part starts alone on its course, and is pursued by later parts.  The variants include fughetta (literally, "a small fugue") and fugato (a passage fugue-like in structure interpolated into another work which is not a fugue).

JS Bach (1685–1750) was a German composer of the late Baroque and his unfinished The Art of (the) Fugue, written in the last years of his life, has since a twentieth-century revival of interest been part of the classical canon although many academics and professional composers accomplished in structural analysis maintain the fugues were actually part of his pedagogical output and reflected his long interest in monothematic instrumental works.  The most intriguing suggestion is Bach deliberately left the last of the fugues incomplete to provide aspiring composers with a chance to write their own conclusion, that which preceded either template or inspiration depending on one’s view.

The Unfinished Fugue: Fuga a 3 Soggetti (Contrapunctus XIV).

Like Bach’s other memorable work from his last decade, the Goldberg Variations (1741), the fugues came late to the canon, the first complete performance undertaken only in 1922 but it would have seemed strange to him for the works to be assembled and presented as a whole because collectively they don’t assume any thematic form; they’re more a technical exploration of the possibilities he had learned from the hundreds of fugues he’d earlier written.  The Goldberg Variations had a not dissimilar history; a technically challenging piece written for what became an unfashionable instrument, it lay neglected until a startling performance on the piano in 1955 made it famous.  US physicist’s Douglas Hofstadter's (b 1945) 1979 book Gödel, Escher, Bach: an Eternal Golden Braid invokes The Art of Fugue to illustrate the first incompleteness theorem of Austrian logician Kurt Gödel (1906-1978); it’s fun but it’s drawing a long bow.

In the fourth edition of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM-IV 1994), dissociative fugue was listed as a separate a separate disorder while in DSM-5 (2013) it was re-classified as a subtype of dissociative amnesia, a condition which involves a wide spectrum of degrees of impairment in memory and consciousness.  When a separate disorder, the diagnostic criteria was (1) sudden or unexpected travel away from one's home or work, (2) an inability to recall past experiences, (3) confusion about identity or (in whole or in part) assuming a new one & (4), significant distress and impairment about these issues.  A little unusually in psychiatry, dissociative fugue was noted as typically diagnosed only retrospectively since the patient may not show outward signs and it was thus often difficult to recognize the condition.  So, it was usually only when the fugue ended, whether abruptly or as a gradual emergence, that a diagnosis was made.

Lindsay Lohan and her lawyer in court, Los Angeles, 2012.

The refinement in the DSM-5 was that, becoming a subtype of the disorder dissociative amnesia, a dissociative fugue became the state of purposeful travel or bewildered wandering attached to the symptoms of dissociative amnesia.  In this the dissociative fugue joined the other subtypes including (1) localized amnesia, (2), selective amnesia, (3), generalized amnesia, & (4), continuous amnesia & systematized amnesia.  A hint at the editor’s rationale for making the re-classification lies in the newly added diagnostic exclusions: (1) ingestion of psychotropic substances, (2) a general medication condition, (3), dissociative identity disorder, (4), diagnosis of delirium, (5), diagnosis of dementia, (6), head trauma, (7), ingestion of drugs or alcohol & (8), diagnosis of epilepsy.  Previously, in DSM-IV, the exclusions were limited to (1) the effects of drugs & medications and (2), a general medical condition.  Ominously, they add that while rare, a dissociative fugue may be faked by those seeking to escape the consequences for their actions.  So, the dissociative fugue (once the fugue state or psychogenic fugue) is a mental and behavioral disorder classified variously as a dissociative disorder or a somatic symptom disorder.  Rare and almost always temporary (although cases which last years are noted in the literature and durations of months are not uncommon) and now thought just one of the possible manifestations of dissociative amnesia.

Bustle

Bustle (pronounced buhs-uhl)

(1) To move or act with a great show of energy (often followed by about).

(2) To abound or teem with something; display an abundance of something (often used as “bustling with” or bustled with”).

(3) Thriving or energetic or noisy activity; stir; ferment.

(4) In dressmaking, the fullness around or below the waist of a dress, as added by a peplum, bows, ruffles, etc.

(5) In nineteenth century dressmaking, (1) a pad, cushion, worn under the back of a woman's skirt to expand, support, and display the full cut and drape of a dress; (2) a metal or whalebone framework worn by women, typically only protruding from the rear as opposed to the earlier more circular hoops.

(6) In the design of electronic office equipment, a cover to protect and hide the back panel of a computer or other office machine.

(7) In automotive design, latterly as “bustle-back”. a mid-twentieth century coachwork motif which integrated into the rear of the bodywork the previously separately-mounted trunks used to store luggage;  In the UK, the style was used in a tiny number of limousines until 1992 and in the US, there was an unfortunate revival in the 1970s.

(8) In the design of armored vehicles, an additional, external storage space added to the rear of a vehicle (on a tank, at the rear of the turret).

(9) In sailboat design, as bustle stern, a reference to a stern with a blister at the waterline designed to prevent the stern from "squatting" when getting underway.

1570s: The verb was from the Middle English bustlen, bustelen & bostlen (to hurry aimlessly along; bustling, noisy or excited activity) perhaps a frequentative of Middle English bresten (to rush, break), from Old English bersten (rushing about) of uncertain origin but perhaps (1) from the Old Norse busla & bustla (to splash about), (2) from the dialectal word busk from Old Norse būask (to prepare; to make oneself ready), (3), from the obsolete word buskle (energetically to prepare something) or (4), from the verb busk via the sixteenth century frequentative form buskle.  John Milton (1608–1674) in the 1630s used bustle to suggest "activity, stir, fuss, commotion.  In modern English use, the word is often heard in the phrase “hustle & bustle”.  Related forms include the noun bustler, the verbs bustled & bustling, the adjectival form of bustling not noted until 1819.

Profile of the bustle dress: 1885 American example rendered in silk with rhinestones in a metal frame.

The origin of the use of bustle as a noun referring to "padding in the upper back part of a skirt" is of uncertain origin but may be connected with the German Buschel (bunch, pad) or (more speculatively) may be a special adaptation of the verb, a tribute to the "rustling” the fabric of the dresses made while in motion.  Apparently first used in 1788, the bustle was a specifically-shaped frame, stuffed with cotton, feathers etc, worn by women to kill two birds with one stone: affording a greater rotundity to the hips and emphasizing the narrowness of the of the waist-line.  It had the added practical attraction of causing the folds of the skirt to hang more gracefully and prevent the fabric from interfering with the feet when walking.

Fashions change: the bustle in the late nineteenth century.

Bustle dresses obviously pre-dated modern synthetic fabrics which can be engineered to assume and retain a defined shape so were created by using an internal frame, an exoskeleton assembled usually from metal, cane or bone using essentially the same technique as coachbuilders in the twentieth century, the space frame providing support and describing the arc of the desired curves.  The earliest of the breed were less exaggerated that what was to follow, used more to allow the fabric to fan-out and create a train and it was later, in the mid-nineteenth century, that the loops and hoops grew in number and size to allow the multi-gathered layers now most associated with the style.  It was about this time that trains began to retreat and the shape of the bustle adopted the more pronounced humped shape on the back of the skirt immediately below the waist, the voluminous material tending now to fall straight to the floor in a cut designers at the time called the “waterfall effect”.  A wonderfully elegant style in which a lady could waft around a ballroom, taking a seat could be difficult, trips to the loo presumably a matter of gymnastics.

Bridal gown promotional image.

As a piece of fashion, the bustle rose and fell in popularity, its most dramatic flourish in the late 1880s when the most extreme of the bustles were built with proportions even more extraordinary than the originals of the late 1700s.  Absurdity having been achieved, the bigger bustle quickly was banished to the wedding gown business dress where it remains to this day, used both better to display a clinched waist and sometimes support the fall of a train.  The engineering however endured into the twentieth century, structural support still required for what was were now only slightly exaggerated interpretations of the female form but by 1908 it was noted that but for wedding dresses, the bustle was extinct, supplanted by the long corset.  

Portrait of Maria Carolina of Austria (1752-1814), circa 1767, by Martin van Meytens (1695–1770).

In the late 1700s, the bustle was actually quite modest compared with the earlier pannier which seems to have existed only as court dress and then rarely, reserved for the most formal occasions.  Offering the advantage of rendering the skirt as a large, almost flat, square or rectangular shape in the manner of a painting, it permitted a large surface on which elaborate designs or embroidery could be displayed, transforming the wearer into something of a walking (or at least standing) billboard. 

The style began somewhere in Europe in the early 1700s, historians of fashion in several countries laying claim although whether that's as a proud boast or admission of guilt isn’t clear.  The term seems to have been applied retrospectively as a point of differentiation from the bustle, “pannier dresses” not described as such until 1869.  In their most imposing iterations, the panniers could extend the skirt by almost a metre (39 inches) either side so there may be a comeback for what would presumably be a practical garment in the #metoo era.  The word pannier dates from circa 1300, from the Old French panier & paniere (basket), from the Latin pānārium (breadbasket), the construct being pānis (bread) + ārium (place for).  As originally used in French, panniers were the wicker baskets slung either side of a beast of burden, the name still used to describe the side-mounted containers available as accessories for bicycles and motor-bikes.

Un dimanche après-midi à l'Île de la Grande Jatte (A Sunday Afternoon on the Island of La Grande Jatte) (1884-1886) by Georges Seurat (1859-1891).

Seurat’s most famous painting is an indication of the state of the bustle art in the 1880s but is best remembered as an exemplar of the technique of divisionism (sometimes called chromoluminarism), most associated with Neo-Impressionist painting and defined by the colors being separated into individual dots or daubs, the optical result created in the brain of the viewer.  The eye is an outgrowth of the brain and, having “learned” the nature of color, what the eye sees, the brain intuitively blends and mixes, seeing the painting not as an agglomeration of dots but as an image.  The final processing is not by the painter but the viewer, an early example of a deconstruction of the the reader constructing the text, a direction of thought which would come to intrigue many theorists, some of whom unfortunately pursued the concept a little too long and much too often.

Nancy Cameron with parasol, Playboy magazine, May 1976.

In what was presumably intended as a post-modern touch, Playboy magazine superimposed an image of a slightly bustled Nancy Cameron on the painting for their May 1976 cover, the bunny logo hidden among the dots.  It’s not known how many of Playboy's readers were sufficiently taken with divisionism to devote much time to rabbit hunting.  Previously, Nancy Cameron (b 1954) had been chosen as the 20^th Anniversary Playmate of the Month (PotM) for the January 1974 issue and, uniquely, enjoys the distinction of being the only PotM to have been honoured with a “double-sided centrefold”, her nude front & back both visible.  She looked good coming or going.

1928 Mercedes-Benz Nürburg 460 K Pullman Limousine (W08).

The origin of the bustle-back style on motor cars was organic, a evolution from the luggage trunks which, borrowing from the practice used with horse-drawn carriages of many types, were attached to the rear, a practical arrangement which afforded easy access and didn’t impinge on passenger space.  Sometimes the trunks were provided by the manufacturer or coachbuilder but often, especially on lower-prices vehicles, were from third-party suppliers and not always specifically designed for the purpose, being made variously from steel, timber or leather and even woven with wicker.

1936 Studebaker Dictator 4-door sedan.

As all-metal bodies gradually replaced the mixture of steel, wood and fabric which had typified construction in the early days of the industry, the function of the once separate trunk was retained but integrated into the coachwork.  Ascetically, some were more successful than others but the trend did coincide with the move towards more sloping rear coachwork, replacing the upright designs which had been a direct inheritance from the horse-drawn stage coaches and this would have an important influence on what came to be known as the bustle-back motif.

1939 Lincoln Zephyr V12 Coupe (left) and 1937 Mercedes-Benz 540K (W29) Special Roadster (originally delivered to Mohammad Zahir Shah (1914–2007; the last King of Afghanistan 1933-1973).

The sweep of the fastback line did present an obvious stylistic challenge.  To augment one with the bustled trunk would defeat the purpose but the functional advantages of the added storage had come to be appreciated so the solution was complete integration, the once discernibly separate trunk now wholly encapsulated.  The price to be paid for that was the elongation of the rear body but, in the era of streamlining, the market took well to this latest incarnation of modernism and the style turned into a profitable niche for Detroit, the two-door “business coupe” long a favorite of travelling salesmen who were happy with the sacrifice of the back seat to provide an even more commodious trunk (boot) with which to secure samples of wares.

1953 Ford Zodiac (Mark 1) & 1959 Mercedes-Benz 220 SE (W180).

By the early 1950s, a “three-box” form had evolved and it would become for several generations the standard for the mainstream sedan.  Typified by the Ford Zephyr & Zodiac (1951-1956) and the Mercedes-Benz “pontoons” (W105 / W120 / W121 /W128 / W180) (1951-1962), the style was described as “one loaf of bread atop another”.  Although many couldn’t resist embellishing the simplicity with fins and other unnecessary stuff, the basic outline endured for decades although it did tend to the "longer, lower and wider".

1954 Bentley Mark IV (left), 1963 Rolls-Royce Silver Cloud III (centre) & 1968 Daimler DS420 (right).

Not all however saw the need to advance beyond the bustle which, by an accident of economics, had come to define the traditional English limousine.  While mass-market vehicles evolved quickly with model cycles as little as 3-4 years, the low-volume and substantially hand-made limousines typically remained in production for sometimes a decade or more, reflecting the time it took to amortize the capital investment.  In the post-war years, Austin, Armstrong Siddeley, Bentley, Daimler, Rolls-Royce & Vanden Plas all persisted although production levels, never high, dwindled increasingly as the bustle-back came to be seen as an antiquated relic and by 1965, even Rolls-Royce had all but abandoned the bustle, only the low-volume Phantom V still maintaining the link to the pre-war style.

The choices in 1968: Vanden Plas Princess 4-litre Limousine (left), NSU Ro80 (centre) & Daimler Majestic Major DR450 (right).

Emblematic of the troubles which beset British industry in the era, the most obviously antique of the English bustle-backs, the Vanden Plas Princess 4-litre Limousine, was still on sale in 1968 by which time that glimpse of the next century, the NSU Ro80, had been in showrooms for over a year.  The Princess, still with a split windscreen, was a (mildly) updated version of the Austin Sheerline, introduced in 1947 when it was a genuinely new design although even then, few would have been surprised had they been told it came from before the war.  The eventual longevity wasn't planned but rather a product of the uncertainty in the future of corporate structure the industry would assume, plans for a successor put on hold, the same fate which befell the only slightly more modern-looking but remarkably rapid Daimler Majestic Major which also enjoyed a stay of execution until 1968.       

However, their new rarity made the bustle-back eventually an attraction, the very exclusivity creating a receptive and surprisingly wide market segment which included undertakers, wedding planners, Lord Mayors and anyone else to whom the sense of lost elegance and whiff of wealth appealed.  Jaguar understood and responded in 1968 with the Daimler DS420 which didn’t encourage any imitators but there was room for one and it enjoyed a long, lucrative life, remaining in production until 1992.  Over five thousand were built.

1966 Mercedes-Benz 600 (W100, left) & 1962 Rolls-Royce Phantom V by Mulliner Park Ward (right).

The traditionalists didn’t however always insist on tradition.  Even before Mercedes-Benz had shown their 600 at the 1963 Frankfurt Motor Show, coachbuilders Mulliner Park Ward had built some of the 832 Rolls-Royce Phantom Vs without the pronounced bustle-back which adorned most.  Nothing of course matched the austerity of line of the 600, the most severe interpretation the “three-box” form ever applied to a limousine and, as an alternative to the bustle-back, MPW offered "de-bustled" variations on the theme until the last of the 374 Phantom VIs was built in 1990.

Rolls-Royce prefers turtleback

Actually, although bustleback seems to have become the generally used term, the coachbuilders always preferred “turtleback”, a term used of many forms which recall (sometimes vaguely) the shape of a turtle’s back (ie the curve of the shell).  Examples of use include:

(1) The shape used in the tail section of certain cars (ie synonymous with bustleback).

(2) In nautical use, a convex deck at the bow or stern of a vessel, designed to quickly shed seawater.

(3) In military use, (armoured vehicles & warships), a layout of external armor in which the slope of the structure is used to deflect shells on trajectories close to horizontal.  The classic example of effectiveness was the World War II (1939-1945) Soviet T-34 tank (a platform which remains in service with several militaries.

(3) A primitive stone celt formed to suggest the back of a turtle.

(4) In publishing, a library binding of a mass market paperback with a generic hardcover.

(5) Any plant of the genus Psathyrotes of annual and perennial forbs and low sub-shrubs native to dry areas of south-western North America.

1965 Rolls-Royce Silver Cloud III Touring Limousine by James Young.

In the catalogue of coachbuilder James Young, one rarely ordered version of the Rolls-Royce Silver Cloud (1955-1966) was the long wheelbase (LWB) SCT100, described as the “Touring Limousine”.  In the industry slang, it was the “Baby Phantom”, an allusion to the much larger Phantom V (1959-1968) & Phantom VI (1968-1990) models which, on a larger scale, were visually similar.  Interestingly, although when the SCT100 designation was adopted the UK was still years away from adopting the metric system (and not until the Camargue (1975-1986) did the factory release a car designed to metric dimensions), the "100" was a reference to the wheelbase being extended by 100mm (4 inches).  The touring limousines were almost always fitted with a glass division between the front & rear passenger compartments and were noted too for featuring larger than typical rear fascias in burl walnut which housed tray tables and air-conditioning controls (at least one even included a duplicate fuel gauge which was an unusual addition although clocks, thermometers and speedometers were sometimes specified in the rear of many limousines).  As well as the James Young production, Rolls-Royce's in-house coachbuilder Park Ward (later Mulliner Park Ward) in London fabricated some touring limousines on the LWB chassis, returning the cars to the Crewe factory for finishing.  In Rolls-Royce collector circles, these are “turtlebacks”. 

1965 Oldsmobile 98 two-door hardtop.

Fins began to shrink from the “three box” US cars in the early 1960s and were gone by mid-decade.  Having to go in some direction, the tails of the full-sized US cars noticeably lengthened, matching the growth at the front.  Aesthetically, the long hoods (bonnets) did have their attraction but were hardly an engineering necessity.  Although the biggest US V8s were wide and heavy, they weren’t, by either historic or even contemporary European standards, especially long yet in some of the full-sized cars of the era, a V16 would have fitted and there were those at Cadillac, recalling the genuine exclusivity the sixteen cylinder engines lent the marquee during the 1930s, who hankered for one and they actually built some V12 prototypes before corporate reality bit.  They contented themselves instead with a gargantuan 500 cubic inch (8.2 litre) V8 although another reality would soon bite that too.

The 1961 Cadillac: The long (left) and slightly less long (right) of it. 

Whether in response to or in anticipation of some owners preferring their Cadillac in a more conveniently sized package, between 1961-1963, a “short-deck” option was made available on certain body styles.  Offered first on the six-window Sedan deVille, an encouraging 3,756 were built so the option was in 1962 offered on the four-window Sixty Two Town Sedan but sales actually dropped to 2600, the decline in interest confirmed the next year when only 1575 of the four-window Park Avenue Sedan deVille were sold.  Using the same 129.5 inch (3289 mm) wheelbase as the regular models but eight inches (200 mm) shorter in overall length (215 vs 223 inches (5461 vs 5664 mm)), space utilization was obviously a little better but the market had spoken.  With fewer than eight-thousand of the short-deck models sold across three seasons while the standard editions shipped in the tens of thousands, the flirtation with (slightly) more efficient packaging was abandoned for 1964; in the course of the following decade, Cadillacs would grow another seven inches (178 mm) and gain over 400 lb (181 kg).

1971 Holden HG Premier (left) & 1968 Holden HK Brougham (right).

In Australia, Holden, General Motors's (GM) local outpost, took the opposite approach, the Brougham (1968-1971) created by extending the tail of the less exalted Premier by 8 inches (200 mm), the strange elongation a hurried and far from successful response to the Ford Fairlane (1967-2007).  The 1967 Fairlane had been crafted by stretching the wheelbase of the Falcon sedan from 111 inches (2819 mm) to 116 (2946 mm) and tarting-up the interior.  Ford had since 1965 been locally assembling the full-sized Galaxies for the executive market but tariffs and the maintenance of the Australian currency peg at US$1.12 meant profitability was marginal, the locally concocted Fairlane, much more lucrative, produced as it was with high local content and a miniscule development cost.  The Fairlane name was chosen because of the success the company had had in selling first the full-sized Fairlanes (nicknamed by locals as the “tank Fairlane”) between 1959-1962 and later the compact version (1962-1965).

1977 Ford LTD Silver Monarch (P6).

The massive success of the 1967 car and its successors prompted Ford to cease local assembly of the Galaxie and revert to importing fully built-up cars for the small segment of the market which wanted the bigger vehicles, including the government executive fleets.  Available with both small and big-block V8s, the Galaxies, now badged as Galaxie-LTDs, would remain available until 1973 when Ford Australia created their own LTD (1973-2007), giving the Falcon’s wheelbase a final stretch to 121 inches (3073 mm) and adding the novelty of a 24 hour analogue clock, lashings of real leather and fake timber along with that status symbol of the 1970s: the padded vinyl roof.

Lindsay Lohan photo-shoot by Tom Munro (b 1964) for Bustle, March 2024.

The “malaise era” bustle-backs (1980-1987) by Cadillac, Imperial and Lincoln.

The US cars of the decade between 1973-1983 (some say it lasted a bit longer) were called “malaise era” cars, named after a thoughtful but perhaps unfortunate speech President Jimmy Carter (b 1924; US president 1977-1981) delivered in July 1979.  The president didn't actually utter the word "malaise" but people listen to what politicians mean as much as what they say and the word came to be associated with his unhappy, single-term administration.  Not yet able substantively much to improve the dynamics of the cars, Detroit thought of a distraction: the bustle-back.  It proved a short-lived fad although one better remembered that some of what had gone before and much of what would follow.

The 1980 Cadillac Seville was first, the advertising copy even trying to justify the appearance by claiming the design offered “more usable trunk space”, something which could neither be proved nor disproved which was good, given it offered 14.47 (.409 m³) cubic feet of space whereas last year’s model had 14.9 (.421 m³).  Still, what one got was “more usable”.  Cadillac were explicit about their plagiarism, the Seville’s lines based not on just any bustle-back but one with the most severe lines, the Hooper-bodied Rolls-Royces of the post-war years.  The critics were divided: some not liking it and some hating it, a spread of opinion seemingly shared by buyers, sales never matching those of its more conventional predecessor although there were other factors in the lukewarm response such as the switch to front wheel drive and some reliability issues with the power-train.  Production of the bustle-back Seville ceased in 1985; sales of its successor were higher.

Chrysler always claimed the design of the 1981 Imperial was locked-in long before their designers had laid eyes on the new Seville but it wasn’t until 1981 it was in the showrooms.  Based on the competent J-body Cordoba platform, it was offered only as a two-door coupé with a fuel-injected 318 cubic inch (5.2 litre) V8 and an automatic transmission.  After 1955, Chrysler had run Imperial as a separate division in an attempt to gain the cachet of Cadillac and Lincoln but, despite early success, the experiment failed and the brand was retired in 1975.  The bustle-back Imperial (1981-1983) ostensibly revived the division and the car was well-equipped, including bits and pieces from Cartier although its best-remembered association with celebrity was the “Frank Sinatra Edition”.  Unexpectedly, a brief foray onto the fastest of the NASCAR ovals proved the bustle-back’s aerodynamic efficiency; it achieved an impressive top-speed despite not using the highest-powered engine.  It wasn’t enough to save the brand which was shut down for the last time in 1983 although Chrysler did continue to use “Imperial” on the odd tarted-up model and surprised everyone in 2006 by presenting an Imperial concept car.  Criticized at the time because it was so obviously influenced by the Rolls-Royce Phantom (the retrospective VII) and a pastiche of many clichés, if one didn't mind that sort of thing, it seemed a quite accomplished execution.  

Ford’s retro-take arrived last in 1982 but the Lincoln lingered longest, not replaced until 1987.  The bustle-back Lincoln actually used the most restrained implementation of the idea but, unable to resist the temptation to add lipstick, the designers applied to the trunk the faux spare tyre bump which had been on so many Continentals since the 1955 Mark II first sought to pay tribute to the 1940 original although this was the first time a Lincoln without a Continental badge had been humped. In common with the experience of the other manufacturers, the car attracted fewer buyers than its predecessor or successor and, while Detroit have pursued some other retro-projects with mixed results, none have attempted another reprise of the bustle-back.

Pre and post butt-lift, the 2001 and 2009 BMW 7 Series.

Nor has anyone else.  Although the 2001 BMW 7 Series (E65) is sometimes labelled a bustle-back (or, in more twenty-first century style, a bustle-butt), it really never was although, having allowed a decent interval to elapse so as not to (further) upset the designer, at the first facelift, it was toned down a little.

Gargoyle & Grotesque

Gargoyle (pronounced gahr-goil)

(1) A grotesquely carved figure of a human or animal crafted as an ornament or projection, especially in Gothic and neo-Gothic architecture.

(2) In architecture, a spout, terminating in a grotesque representation of a human, animal or supernatural figure with open mouth, projecting from the gutter of a building for throwing rain water clear of a building.

(3) Archaic slang for person with a grotesque appearance, especially if small and shrivelled.

(4) Fictional monsters; pop-culture creations inspired by the decorative and/or functional projections in Gothic and neo-Gothic architecture.

1250–1300: From the Middle English gargoile & gargurl (grotesque carved waterspout) from the Old French gargouille & gargoule (throat) and it’s from here modern English gets gargle.  Even in the Gothic period, not all gargoyles were conduits for draining rainwater; many were purely decorative and were therefore grotesques.

Grotesque (pronounced groh-tesk)

(1) In architecture, a thing odd, unnatural or fantastic in the shaping and combination of forms, as in the sixteenth-century decorative style (in any material) combining incongruous human, animal or supernatural figures with scrolls, foliage etc.

(2) Distorted, deformed, weird, antic, wild.

(3) In the classification of art, of or characteristic of the grotesque.

(4) In typography, the family of 19th-century sans serif display types

1555:1565: From the Middle French grotesque from the Italian grottesco (of a cave), derived from grotta from the Vulgar Latin grupta.  Ultimate root is the Classical Latin crypta from which English picked up crypt.  Grotta entered French from the Italian pittura (grottesca) (cave-painting) and it was via French English picked up grotto.  Connection with the decorative forms attached to gothic architecture is the fantastical nature of some cave-paintings.  Spreading from Italian to the other European languages, the term was long used interchangeably with arabesque and moresque for decorative patterns using curving foliage elements.

The Engineering of Water Management

Gargoyle: Bern Minster, Switzerland.

Often used interchangeably, the technical difference between gargoyles and grotesques is that gargoyles contain a water sprout, carved usually through the mouth, whereas grotesques do not.  A gargoyle thus has a function in engineering whereas a grotesque’s purpose is essentially decorative although it is nominally functional in that they were believed to provide protection from evil, harmful, or unwanted spirits.  The application of more modern techniques of rainwater management has had the effect of turning many gargoyles into grotesques although architectural historians maintain the original designations.  As long ago as the sixteenth century, drainpipes were installed in the Notre Dame cathedral in Paris so the gargoyles became merely ornamental, although, they did of course continue to ward off evil.

Gargoyle: Cologne Cathedral, Germany.

The number of gargoyles attached to a building and their size and shape was a product of climate and fluid dynamics.  Architects used multiple gargoyles to divide the flow of rainwater off the roof to minimize the potential damage of a rainstorm and that number was influenced by the rainfall prevalent in the area where the structure sat.  The architect needed to consider not the annual rainfall but the heaviest prolonged rain-events expected; they thus had to cater for peak demand and the gargoyles needed to be sufficient in total capacity to evacuate the volume of water expected during the heaviest falls.  To achieve this, a trough was cut in the back of the gargoyle, rainwater typically exiting through the open mouth.  Gargoyles usually assumed their elongated fantastical animal forms because the length of the gargoyle determines how far water was thrown from the wall, the shape thus determined by fluid dynamics.  Prior to the extensive use of pipes reaching to the ground, the gargoyles were sometimes augmented by other techniques; when Gothic flying buttresses were used, aqueducts were sometimes cut into the buttress to divert water over the aisle walls.  Typically cut from stone, Non-ferrous metals and alloys such as aluminium, copper, brass and bronze have been used.

Grotesque: Saint Mary’s Cathedral, Edinburgh.

The term originates from the French gargouille (throat; gullet) from the Latin gurgulio, gula & gargula (gullet; throat) and similar words derived from the root gar (to swallow) which represented the gurgling sound of water (such as the Spanish garganta (throat) & g‡rgola (gargoyle)).  It was connected also to the French verb gargariser (to gargle).  Most helpful are the languages where the translation is architecturally precise.  The Italian word for gargoyle is doccione o gronda sporgente (protruding gutter), the German is Wasserspeier (water spewer) and the Dutch is waterspuwer (water spitter or (even better) water vomiter).  A building with gargoyles is said to be "gargoyled" but, during the Middle Ages, babewyn was slang used to describe gargoyles and grotesques, a word derived from the Italian babuino (baboon), an indication of what the things resembled, especially when viewed from a distance.  The size and shape of a gargoyle was thus dictated by function but the detail was left to the imagination of the designer.  Those creating grotesques had few limitations.  Because of the need to scare off and protect from evil or harmful spirits, the carvings often had the quality of chimeras, creatures a mix of different types of animal body parts creating a new animal, some notable chimeras being griffins, centaurs, harpies, and mermaids, these eerie figures serving as a warning to those folk who might underestimate the devil.

Grotesque: National Cathedral, Washington DC.

In water management, the gargoyle has a long history.  In the architecture of Ancient Egypt, there was little variation, the spouts typically in the form of a lion's head carved into the marble or terracotta cymatium of the cornice.  The Temple of Zeus had originally 102 of these but, being rendered from marble, they were heavy and many have broken off or been stolen and only 39 remain.  Nor have they always been chimeric, some instead depicting monks, or combinations of real animals and people, many of which were humorous but as urbanisation increased, building codes were imposed which rendered the gargoyles, expect for their spiritual purpose, obsolete.  Typical was London’s 1724 Building Act which mandated the use of downpipes compulsory on all new constructions.

Gargoyle: Marble Church, Bodelwyddan, Clwyd, Wales.

Within the Church however, the spiritual function wasn’t without controversy.  Gargoyles were thought to keep evil outside a church but existed also to convey messages to a people who usually were illiterate, scaring them into attending church, a reminder that the end of days was near.  However, there were some medieval clergy who viewed gargoyles as a form of idolatry and Burgundian abbot, Saint Bernard of Clairvaux (1090–1153), was famous for his frequent denunciations, his objections theological, aesthetic and fiscal:

"What are these fantastic monsters doing in the cloisters before the eyes of the brothers as they read?  What is the meaning of these unclean monkeys, these strange savage lions, and monsters?  To what purpose are here placed these creatures, half beast, half man, or these spotted tigers?  I see several bodies with one head and several heads with one body.  Here is a quadruped with a serpent's head, there a fish with a quadruped's head, then again an animal half horse, half goat.  Surely if we do not blush for such absurdities, we should at least regret what we have spent on them."

Grotesque: Crooked Hillary Clinton (digitally altered image).

Even after drainpipes took over responsibilities for drainage, the tradition was maintained by the grotesque, sometimes emulating the earlier elongated lines, sometimes more upright.  Grotesques were popular as decoration on nineteenth and early twentieth century skyscrapers and cathedrals in cities such as New York Minneapolis, and Chicago, the stainless steel gargoyles on New York’s Chrysler Building especially celebrated by students of the art.  The twentieth century collegiate form of the Gothic Revival produced many modern gargoyles, notably at Princeton University, Washington University in Saint Louis, Duke University, and the University of Chicago.  One extensive collection of modern gargoyles is on the National Cathedral in Washington DC.  Beginning in 1908 the cathedral was first encrusted with limestone demons but, over the years, many have been added including Star Wars character Darth Vader, a crooked politician, robots and other modern takes on the ancient tradition.  In England, Saint Albans Cathedral has a grotesque of former Archbishop of Canterbury Dr Robert Runcie and one of an astronaut adorns the Cathedral of Salamanca in Spain.

Grotesques modernes, left to right: Star Wars' Darth Vader (from the Star Wars film franchies), National Cathedral, Washington DC; Astronaut or cosmonaut, Cathedral of Salamanca, Spain; Lindsay Lohan, Notre Dame Cathedral of Reims, Marne France (digitally altered image); Dr Robert Runcie (Baron Runcie, 1921–2000; Archbishop of Canterbury 1980-1991) (centre), St Albans Cathedral, England.

Intelligence

Intelligence (pronounced in-tel-i-juh-ns)

(1) Capacity for learning, reasoning, understanding, and similar forms of mental activity; aptitude in grasping truths, relationships, facts, meanings, etc.

(2) Describing the manifestation of a high mental capacity.

(3) The faculty of understanding.

(4) Knowledge of an event, circumstance, etc., received or imparted; news; information.

(5) The gathering or distribution of information, especially secret information; the evaluated conclusions drawn from such information; an organization or agency engaged in gathering such information.

(6) The interchange of information.

(7) In the sect of Christian Science, a fundamental attribute of God, or infinite Mind; an intelligent being or spirit, especially an incorporeal one, as an angel.

(8) News or information (now obsolete except as applied to the military, government or others who practice espionage).

(9) As used in intelligence quotient (IQ) tests, refers to an individual's relative standing on two quantitative indices, namely measured intelligence, as expressed by an intelligence quotient, and effectiveness of adaptive behavior.

1350-1400: From the Middle English intelligence (the highest faculty of the mind, capacity for comprehending general truths (and later "faculty of understanding, comprehension")), from the Old French intelligence, from Latin intelligentia & intellegentia (understanding, knowledge, power of discerning; art, skill, taste), from intelligentem (nominative intelligens) (discerning, appreciative), present participle of intelligere (to understand, comprehend, come to know),from intellegere (to discern, comprehend (literally “ choose between”)), the construct being inter-, (between, amid), a form of prepositional inter (between)+ legere (to choose), from the primitive Indo-European root leg- (to collect, gather (with derivatives meaning "to speak; to pick out words)) or the Proto-Italic legō (to care).

The meaning “superior understanding, sagacity, quality of being intelligent” is from the early 1400s and the particular application to spies dates from later that century although at much the same time it was applied in general to "information received or imparted; news". The word assumed its modern meaning (being endowed with understanding or knowledge) in late 1300s, influenced by the use in Old French where it had existed since the twelfth century.  The first formerly structured intelligence quotient (IQ) tests were conducted in 1921.  Intelligential is the adjective and intel the usual abbreviation.

Military Intelligence

The record of military intelligence during World War I (WWI, 1914-1918) was mixed and the troops would joke there were three types of intelligence: human, animal & military.  It was during WWI that some British military intelligence units began to pick up their familiar identification codes (M(ilitary) I(ntelligence)1, MI4, MI5 etc).  MI5 and MI6 remain well-known, thanks to Ian Fleming (1908–1964; the former naval intelligence officer who wrote the James Bond novels) and other writers but there were many other MIs, researchers uncovering amidst the alpha-numeric soup references to entities up to MI25 but not all existed at the same time and most have long since been either disestablished or folded into MI5, MI6 or GCHQ (Government Communications Headquarters; the UK government's clearing house for signals intelligence (SIGINT)) in the post-war years.

Artificial Intelligence: A random eight AI generated images of Lindsay Lohan.  

The records are occasionally contradictory but researchers have synthesized what are thought to be the most reliable sources and the list has been little amended since first it was published in the late 1990s.  The list should not however be misinterpreted; some of the MIx entries identified better thought of as project codes for operations which were, either at once or shortly after their creation, appended to other departments rather than becoming or remaining distinct entities with a personnel establishment and physical accoutrements of infrastructure.  Other were ad-hoc creations of wartime exigency that were dissolved as circumstances rendered their purpose redundant.  There’s also another reason why the list may be incomplete: given all this operates at least notionally under the auspices of the notoriously secretive military and it could be there are any number of still secret departments.

MI1: During WWI, the army’s MI1 (there were a number of sub-sections labelled MI1a, MI1b etc) and the Admiralty’s NID25 had operated separately as collectors and interpreters of SIGINT, including code-breaking.  After the war, they were combined into the inter-service Directorate of Military Intelligence and Cryptography which ultimately evolved into GCHQ.  However, the Army, Royal Navy and newly created Royal Air Force (RAF) all maintained, sometimes in great secrecy, their own intelligence operations, the Admiralty especially jealous of its independence in as many fields as possible.

MI2: A divisional title, the “desk” or section devoted to intelligence relating to Russia & Scandinavia.

MI3: A divisional title, the “desk” or section devoted to intelligence relating to Eastern Europe.  This originally included Germany but so important did the German threat become that MI14 and MI15 were created exclusively to handle Britain’s fears of things Teutonic.

MI4: Matters related to aerial reconnaissance.  MI4’s original remit included not only the analysis of photographs but also the technical aspects of the process (cameras, lens, film stock, mounting techniques etc) and as civil aviation expanded, spying on foreign territory was accomplished sometimes with the use of civil airliners.  MI4 was transferred to Military Combined Operations in April 1940 when the MI15 was hived-off as an operation concerned purely with engineering aspects of photography and attached to the Air Ministry.

MI5: The well-known domestic intelligence service, the focus of which varies according to changes in the threat environment (Germans, feminists, communists, fascists, homosexuals, Freemasons, terrorists et al).  It’s known also as the Security Service but the authorities never make much of this, presumably because they don’t like the idea of people calling it "the SS".  MI5 is responsible to the home secretary (the UK's minister for internal affairs).

MI6: The foreign intelligence service, almost always called MI6 because of its historic origins but actually correctly styled the Secret Intelligence Service (SIS) and as the Secret Service Bureau, it actually pre-dated WWI, the MI6 tag not used until World War II (WWII, 1939-1945).  The SIS is responsible to the Foreign Secretary and is well-known because of the connection with spies real and fictional: James Bond, Graham Greene, John le Carré, Ian Fleming, Somerset Maugham, Kim Philby etc. 

MI7: Military Communication Interception, later known as the Propaganda Section and transferred to the Ministry of Information during the Battle of France (the Western Campaign (Westfeldzug to the Germans) May-June 1940)).

MI8: Better known as the WWII Special Operations Executive (SOE), the covert ops department set up “to set Europe ablaze”, concentrating on sabotage and political subversion in Nazi-occupied Europe.  Said at the time to be of great psychological value, post-war analysis of its operations suggested success was patchy.  In the inter-war years, MI8 was concerned with the interception and interpretation of communications.

MI9: A WWII creation concerned with undercover operations, especially assisting escape and evasion by both civilians and prisoners of war.

MI10: Weapons analysis, a WWII military-civil partnership which conducted tests and provided analytical services.

MI11: Military security.  Although concerned with internal matters such as leaks and the theft of intelligence, most of its staff were in field security and the Military Police dealt overwhelmingly with normal police matters or military discipline.

MI12: Military censorship, always a growth industry in the armed forces.  One WWII US general held the view the civilian population needed to be told about the war only when it was over and then only that “we won”.

MI13: There is no evidence MI13 ever existed.  Whether this was because of the superstition the British attach to the number 13 isn’t known.  Conspiracy theorists wonder if it’s something so secret that it’s never been spoken of.

MI14 & MI15: Divisional title, the “desk” or section devoted to intelligence relating to Germany.

MI15: In April 1940, the MI15 title was recycled, German matters having long been exclusively the domain of MI14.  MI15 became the aerial photography branch which was purely technical (how best to photograph stuff) and attached to the Air Ministry while MI4 (aerial reconnaissance) decided what should be photographed.

MI16: Scientific analysis.  As WWII progresses, the importance of advances in science and technology became increasingly obvious.  MI16 wasn’t a collection of scientists but an administrative centre to coordinate research and ensure efforts weren’t being duplicated.  It interacted with existing instruments such as the Ministry of Supply in matters of resource allocation.

MI17: Secretariat for Director of Military Intelligence.  This was an attempt to coordinate the back-office and administrative overhead of all the MIx departments but it also added to the bureaucracy.

MI18: There is no evidence MI18 ever existed but because of the existence of MI19 such an institution may at least have been contemplated with the designation reserved for that purpose (or it could, like the mysterious MI13, be in secret functioning even today).

MI19: A WWII prisoner of war debriefing unit, best known for the transcripts they provided by secretly bugging German generals in captivity in England.  The transcripts are especially interesting when read in conjunction with some of the generals’ memoirs published after their release.

Conspiracy theorists find it intriguing that there’s no documentary evidence for the existence of MI13, MI18 & MI20 and MI21-MI25 remain classified as secret.  Over the years, the most popular conspiracy theory has been there’s a MI unit somewhere concerned with a covering up what the government really knows about UFOs.

The SIS Building, 85 Albert Embankment, Vauxhall, Lambeth, London.  Opened in 1994, nicknames include Legoland, The London Lubyanka, Ceaușescu Towers & The Ziggurat.

The British government did not until 1994 officially acknowledge the existence of the Secret Intelligence Service (SIS, aka MI6), and the identities of its staff and location of their offices were classified secret and subject to a D-Notice (now called a DSMA-Notice (Defence and Security Media Advisory Notice)) which was an official request by government to publishers and broadcasters not to publish or broadcast items about certain matters, a system which worked rather effectively in the pre-internet age.  However, the location of the SIS’s headquarters in the London suburb of Lambeth was apparently the UK’s “worst kept secret” appearing in training materials for taxi drivers although the story it was once in Lonely Planet’s London guide seems to have been apocryphal.  When the new SIS building was commissioned, it was decided to solve the problem of the secret leaking by publishing the details and ensuring the new structure was about the most obvious thing on the Thames.  An eclectic mix of styles, shapes & structures, when opened in 1994 it attracted criticism from those architects who decry anything other than 1950s New York modernism but it has aged rather well, the colors, lines and proportions not without charm.