Saucepan

Saucepan (pronounced saws-pan)

(1) A deep cooking vessel fashioned usually from metal, typically with a long protruding handle and often a lid; used for boiling, stewing etc with use not restricted to the preparation of sauces.

(2) In uranography (celestial cartography; the mapping of celestial bodies), a pot-shaped asterism in the constellation Orion, consisting of Orion's Belt, Orion's Sword, and the star Eta Orionis (proper noun, thus initial capital).

(3) As “saucepan fish”, a dated term for the king crab.

(4) In slang, to spread information (rumors or facts).

(5) In military slang, a “name” used as a substitute when the real name is deemed too long or hard to pronounce (“wheelbarrow” a historic alternative).

(6) In on-line gaming slang, to kill an opponent (or random other player) in a manner that reduces them to “a sauce”.

(7) In on-line gaming slang (as “saucepanned”), a player killed in a manner that reduces them to “a sauce”.

(8) To cook ingredients in a saucepan.

(9) To hit (someone) using a saucepan as a weapon.

1680–1690: The construct was sauce + pan.  Dating from 1300–1350, sauce was from the Middle English sauce, from the Middle French sauce, from the Old French sauce, sausse & sause, from the Vulgar Latin salsa (things salted, salt food), noun use (feminine) of the Latin salsus (salted), past participle of sallere (to sprinkle with salt), from sāl (genitive salis), from the primitive Indo-European root sal-(salt).  The spelling sawce is long obsolete.  Pan (in the context of the cooking utensil) was from the pre-900 Middle English pann & panne, from the Old English panne, from the Proto-West Germanic pannā, from the Proto-Germanic pannǭ.  It was cognate with the West Frisian panne, the German Low German Panne, the German Pfanne, the Dutch pan, the Saterland Frisian Ponne, the Danish pande, the Swedish panna, the Icelandic panna and the Old Norse panna but the ultimate origin remains murky.  Etymologists suspect variants such as patna & panna were in use in the Vulgar Latin (from the Late Latin panna) in the sense of “pan”; these from the Classical Latin patena & patina (shallow dish, shallow pan, stewpan), from the Ancient Greek πατάνη (patánē) (dish, flat dish), likely of pre-Greek origin.  Among the profession, the Late Latin panna seems generally accepted as the source but some do note the untypically rare attestation and the limited spread to other Romance languages, suggesting the matter should be thought unresolved.  However, alternative explanations (such as the Proto-Germanic pannǭ and Late Latin panna coming from a non-Indo-European Mediterranean substrate word remain speculative and even a link between the Greek patánē and the primitive Indo-European root pete (to spread) has limited support.  Saucepan is a noun & verb, saucepanful is a nouns, saucepanned & saucepanning are verbs and saucepanlike is an adjective; the noun plural is saucepans.  The adjectives saucepanish & saucepanesque are non-standard.

Cooks Standard Multi-Ply Clad 8-Inch (200 mm) Stainless Steel Frying Pan.

A pan is a broad, shallow container of metal, usually having sides flaring outward to the top; they’re used in various forms for frying, baking, mixing (this & that), gold prospecting, washing etc.  So often is the shape seen in many fields that the word has come to be used of any “hollowed-out” thing shaped (even vaguely) like a pan used in cooking.  In engineering, pan-shaped parts are common ranging from the heads of tiny screws to huge “dishes” used in cosmic observation and components in power-generation.  In idiomatic use there was the “flash in the pan” (a transient occurrence with no long-term impact; an early-career success not followed subsequent accomplishments), based on the flash that happened when a musket or flintlock pistol was fired (the gunpowder held in a “pan”).  To say “out of the frying pan and into the fire” suggests going from a bad situation to something worse).  In figurative use, to “pan out” means “to proceed according to plan; to result or end up with an acceptable outcome or in an acceptable form”; it evolved from the nineteenth century Californian gold rush where “pan out” described the process of separating and recovering the precious metal by swirling dirt or crushed rock in a pan of water.  “Pan handle” (literally “the handle of a pan”) is used in geography & cartography to describe a part of land surface that appears to “stick out or project” when viewed on a map (the US state of Florida a classic panhandle).  In military aviation, the lever used to activate an ejector seat was dubbed “pan handle”.  There are specialized variants including the “milk saucepan” (the internal surface now often coated with Teflon) that features a wide lip with a “built-in” indentation for pouring; as the name suggests, typically it’s used to heat milk for drinks.  The now rare sense of pan in the sense of “face” is an Americanism from the 1920s and the idea endures in the slang “pieface” (a “round-faced” person).

Lindsay Lohan cooking pasta with two saucepans (one for pasta; one for sauce), London. 2014.

Paradoxically, most saucepans doubtlessly are used for purposes other than preparing sauces so it should be little surprise there’s no standardization in the terminology and whether a “saucepan” is from time-to-time deemed a “pot”, “saucepan” or some flavour of “pan” is determined wholly by an individual’s culinary lexicon and even within regions that can vary; what’s one thing in one place might be something else in another.  So, there are conventions rather than rules but, as a general principle, pots and pans are distinguished by their depth and use, in which case (1) a saucepan (with its elongated sides) is pot despite its name, (2) pots and pans are distinguished by type and/or number of handles, in which case a saucepan can be a pan and (3) both vessel depth and handles are distinguishing features, in which case saucepans form a separate third class that is sibling to pots and pans.  All that is really not a great deal of help and the best guide is how a manufacturer or retailer describes the thing although a purchaser is free to call their utensil whatever they wish.  What the internet has done is make this use diffuse so whereas it was once possible to guess on which side of the Atlantic the terms were being used, this is no longer the case with the regionalisms now blurred.  Working chefs, better acquainted than most with cooking utensils, seem not too concerned, the language heard in production kitchens tending to be clipped to “pots” and “pans”, visual identification sufficient to determine choice.

Influencer site PureWow Picks noted one of the items Lindsay Lohan thought essential items in the inventory of the modern young woman was a “better non-stick pan”.  In what was described as an “exclusive interview”, Ms Lohan revealed a half-dozen items “she can’t live without” and although it was disclosed “PureWow may earn compensation through affiliate links within the story”, the list was nevertheless an insight into some of the more obscure things that matter to at least a subset of the population:

(1) Nanit Pro Camera & Flex Stand: A handy device with which a mother can monitor her child in another room with two-way audio communication also supported.

(2) Alaïa Criss Cross patent leather ballet flats: Men tend to prefer the female foot in a classic stiletto pump but women seem inclined to allow comfort to matter, ballet flats often the shoe of choice.

(3) Hexclad six-piece Hybrid Fry Pan Set with Lids:  Hexclad’s product is “Teflon free”, “hybrid” a reference to a patented system of “hexagonal steel peaks” (a laser-edged network of ridges said to “boost searing power”), the “non-stick” valleys coated with the company’s proprietary TerraBond™ ceramic non-stick (free from PTFE and forever chemicals).  Concerns about the shedding of PTFE microparticles into food were raised when Teflon was produced using PFOA (perfluorooctanoic acid). The story Teflon (PTFE, polytetrafluoroethylene, a synthetic fluoropolymer composed of carbon and fluorine) was developed in the 1960s for the US space program is an urban myth; it actually emerged from DuPont's labs, its low friction properties making the stuff and an ideal coating to create “non-stick” cookware; in that application it’s been a minor but significant contribution to civilized life.

(4) Ōura Ring: Ōura say their ring captures the body's “signals”, converting 40 live activities into biometric data, displayed on a phone app as measures of stress, signs of strain, effective cardiovascular age and such.  Ms Lohan says she uses it daily, checking every morning to track her sleep patterns.

(5) Levi’s 90s Jeans and Frankie Scoop neck white cotton Tee-shirt: For decades, the most enduring “go to uniform” of the Western woman, blue denim jeans and a white cotton scoop-neck Tee-shirt can work as a stand-alone ensemble or a base to accessorize (boots, hats, scarves, blazers etc).  When in doubt, stick to the classics.

(6) Insight Timer App (Meditate, Sleep):  Claimed to be the world’s most popular “wellness app”, Ms Lohan says it and WhatsApp are the phone apps she uses most, the Insight Timer useful for “meditation” or “breath work”.

Before being saucepanned: Callum Forbes (left) and David Cao (right) enjoying an “Instagram sunset moment”, cruising on Sydney Harbour.

The verb “saucepanned” (to cook ingredients in a saucepan) is not recent but few outside of cooking schools will have heard it used and it doesn’t appear with any frequency in cookbooks.  There is however also the sense “to hit (someone) using a saucepan as a weapon” and while that does feed into the reality television stereotype of the “psychotic chef”, most probably assumed it was something seen perhaps in on-line gaming rather than IRL (in real life).  However, in August 2026 came news French police had arrested Australian David Cao (b 1989), then an employee of ING Bank alleging he had attacked his (now former) partner (Callum Forbes (b 1990)) using a saucepan.  At the time of “assault by saucepanning”, Mr Cao had been employed by ING Bank (Australia) (a wholly owned subsidiary of the Dutch ING Group) as “head of retail value creation” (it’s not clear what that means), having previously worked at Westpac (a portmanteau word, the construct being Wes(tern) + pac(ific)); originally the Bank of New South Wales (1817), in 1982 it was re-branded as Westpac Banking Corporation, a year after acquiring the CBA (Commercial Bank of Australia)) as head of DEI (diversity, equity & inclusion (everyone knows what that means)).  An ING spokesperson was quoted as saying Mr Cao was no longer employed by the bank but the institution was “aware of allegations involving a former employee”.

Château de Perreux.

The attack allegedly transpired in the Château de Perreux (a “boutique” hotel, close to the historic town of Amboise in the Centre-Val de Loire region of France in the heart of the Loire Valley).  The couple had been spending a night at the hotel, en route to Amsterdam where they were to attend the WorldPride event; Mr Cao had since January 2026 been on the board of LGBTQ+ organisation Rainbow Giving Australia Foundation but, after details emerged of the “saucepan incident”, his profile was removed from the organisation’s website.  The details remain sketchy and it’s not clear whether the saucepan was a “weapon of choice” in a premeditated attack or just whatever fell conveniently to hand at the “spur of the moment” and could just as easily have been whatever else lay close (hair dryer, make-up case etc).  It certainly proved effective, wielded by Mr Cao with such force the handle snapped.  Mr Forbes afterwards locked himself in the bathroom, telling the online site Gay Sydney Daily: “I remember thinking very clearly that I might die there that night in the chateau.  I had been bleeding heavily and too terrified to open the door for what felt like 30-plus minutes waiting for hotel staff to come in.”  As well as the attack with the saucepan (depending on mode of use, effectively both “blunt instrument” and “edged weapon”), Mr Cao is alleged to have poured boiling water over his victim’s body; although the sequence of events wasn’t disclosed, presumably the water was boiled in saucepan and subsequently re-purposed.

After being saucepanned: Image distributed by Callum Forbes while undergoing treatment in hospital.

By the time staff arrived in the room, Mr Cao had fled in a rental car, detained by French police some 36 hours later, near the Belgian border, allegedly trying to board a train out of France.  According to a statement issued by French police: “One of the partners had just been struck several times on the head during a domestic dispute in which separation was being discussed.  The victim began shouting ‘help’ while a saucepan with a sharp edge was used as a weapon.   The brutality of the blows was such that the handle of the pan broke under the impact.”  Mr Cao was reported as having been charged with “attempted murder, acts of torture and barbarity, kidnapping, and theft” with a trial date not yet set.  The Australian DFAT (Department of Foreign Affairs & Trade) confirmed it was providing consular assistance to the victim and was attempting to make contact with Mr Cao (by then in custody) but was unable to make further comment, citing privacy obligations.  Asked his view on Mr Cao, one ING staff member (who requested anonymity), the former DEI operative had “…an inflated opinion of himself”.  Mr Forbes shared post-attack photographs; he suffered second degree burns to his face requiring stitches, along with burns to his torso and arms and a burst eardrum.  He told a Sydney newspaper the attack happened shortly after the pair had discussed separating and clearly it was unexpected, Mr Forbes asleep at the time after the couple “had enjoyed a pleasant dinner and spa”.  The newspaper La Nouvelle Republique, (citing a source “close to the investigation”), reported Mr Cao admitted to the attack but not to intending to kill his partner.

Counting Dead Women Australia.

Domestic violence is a scourge in Australia with working-class women disproportionately the victims.  Quite the extent of the problem isn’t known because published statistics reflect only reported incidents but what is known is, on average, the long-term trend is every 9 to 11 days, a woman is killed by her current or former partner.  So consistent and troubling were the numbers that a Facebook page was created: Counting-Dead-Women-Australia providing annual summaries of the grim toll (41 for calendar year 2026 by the end of October).  Despite the numbers, the fact that most of the victims are working-class women not organized into or represented by pressure groups able to pose a political threat may not be unrelated to politicians handling the matter as just another tiresome question to be fobbed off with sympathetic words and vague assurances.  That stands in stark contrast to the political class’s shocked reaction and practical response when, in October 2026, a female politician was the victim of an attack (rammed by a motor vehicle, the victim losing both legs).  Suddenly, violence became a first-order (ie “money no object”) issue and it was clear resources would be made available to ensure politicians were afforded even more protection; women generally would be left to arrange their own defences.

Women being murdered by men either their current or former partner represent overwhelmingly the bulk of those killed but, as the “saucepan incident” illustrated, the LGBTQQIAAOP community is not immune from domestic violence but the prevalence is uncertain and early in 2026, the LGBTQIA+ DVAF (Domestic Violence Awareness Foundation) highlighted concerns that campaigns addressing domestic and family violence often “overlook” LGBTQIA+ people. According to the Private Lives 3 Report (2020), more than 60% of LGBTQIA+ people reported experiencing domestic or family violence.  That does sound high but (1) the term “violence” is now wider and encompasses concepts such as “psychological violence” and (2) statistics will be slanted by those with an experience of “violence” being more inclined to report so the numbers must be read with caution.  Still, there’s little doubt the LGBTQQIAAOP community does have a problem with domestic violence and while the nature and extent (the “tops slapping their bottoms” trope a homophobic slur) may be different from that in “straight society”, clearly it’s not insignificant.  Since 2020, the foundation has raised awareness of the issue through an annual awareness day held each May, an approach prompted by the historic lack of research into domestic violence within same-sex relationships.  One report in the academic journal Trauma, Violence and Abuse reviewed 108 studies (published between 1990 and September 2021), finding LGBTQIA+ people were found to experience high rates of sexual violence, most commonly perpetrated (predictably) by men; the highest rates were reported among transgenders, the gender-diverse and bisexual women.  Again, the statistics cannot be relied on as indicative of the wider problem, the research conducted mostly among US university students (a cohort for a variety of reasons for decades over-represented in academic research) and the only valid conclusion must be the standard: “more research required”.

Although a simple coincidence, courtroom sketch artist Rocco Fazzari's (b 1959) drawing of Beau Lamarre-Condon (b 1996, left) looks damnably like Spanish Franciscan friar Francisco Garcés (1738–1781, right) who served as a missionary in the colonial Viceroyalty of New Spain (1521-1821, an often shifting claim of territories centred around Mexico and extending to southern & western North America, the Caribbean, northern parts of South America and a number of Pacific archipelagos (including briefly even the island of Formosa (now the renegade province of Taiwan))) before being “martyred” when killed in what is now Yuma, Arizona, by members of a indigenous nation displeased by the conduct of Spanish colonizers.

In Australia, a dramatic instance of domestic violence in the LGBTQQIAAOP community captured attention when, in February 2024, NSW Police Constable Beau Lamarre-Condon (b 1996) was accused of having murdered TV presenter Jesse Baird (1997–2024) and flight attendant Luke Davies, (1994-2024), shooting both with his police-issue Glock semi-automatic pistol in Mr Baird’s home in the inner-Sydney suburb of Paddington.  According to press reports, Mr Lamarre-Condon had become “obsessed” with Mr Baird which whom he'd previously ("off and on") enjoyed some sort of relationship and was not best pleased at him having “moved on” to another boyfriend (Mr Davies).  The allegation is Mr Lamarre-Condon donned the disguise of an Uber Eats delivery driver and went to Mr Baird’s house where he shot dead both victims, later disposing of their bodies in bushland; facing two charges of murder and one of aggravated break and enter, Mr Lamarre-Condon pleaded not guilty, citing self defence as a justification for his actions causing two deaths.  In such matters, a claim of "self defence" can wholly be exculpatory but success depends on the facts presented in court and, on the basis of what’s been published (suspect alleged while armed with handgun to have gone uninvited to the home of unarmed victims), the circumstances during the critical moments would have to be most untypical for the legal tactic to work.

Beau Lamarre-Condon with “default” influencer collateral (private jet (Hawker 1000), champagne flute and Hermès Birkin Bag in black leather with silver-tone Palladium hardware) prominently displayed.

An alternative defence of some flavor of insanity has apparently not been filed but when giving evidence, Mr Lamarre-Condon did discuss certain aspects of events he considered contributed to his mental state including (1) a former colleague who took his own life, (2) the “confronting” situations he faced during his service as a police officer (including “dealing with” multiple corpses) and (3) a complaint he’d made in 2018 about a fellow officer’s alleged homophobic remarks.  That was in accord with an earlier interview with detectives during which he'd mentioned certain work-related matters had “messed me up” and made repeated references to “not remembering” and having an “outer [sic] body experience” (the report of interview noted him stating: “I’m not that person”).  “I don’t want you judge me, I’m not a bad person”, he told one investigator, adding he’d been “upset” about NSW police being excluded from that year’s Sydney Mardi Gras gay-pride parade and hoped “one day be able to talk to Jesse and Luke’s families”.  The office conducting the interview acknowledged that while Mr Lamarre-Condon was at times “emotional”, he seemed cognisant of what was happening and did not display “any obvious signs of psychosis”.

Jessie Baird (left) and Luke Davies (right).

In court, the prosecution introduced evidence suggesting some degree of premeditation, including the history on Mr Lamarre-Condon’s phone revealing searches for “a silencer” (a device attached to the muzzle of a firearm to muffle the sound of a shot) and a video tutorial titled “how to mix concrete”, the latter said to suggest the accused intended to dispose of the bodies by encasing them in “quick-set concrete” and “sinking them” (presumably at sea, according to urban legend the New York mafia’s term for the method was “cement overshoes”).  The essence of the Crown’s case is Mr Baird was shot twice while standing in the kitchen (the second shot described as “execution style”) and subsequently Mr Davies was shot through a bedroom door as he tried to call police for assistance.  Mr Lamarre-Condon claims his gun “went off” during two separate struggles, both victims fatally wounded.  His subsequent actions (“cleaning up” the scene and disposing of the bodies) were described by prosecutors as “calculated” to “cover up his involvement” in the double-murders, but counsel for Mr Lamarre-Condon’s told the jury they were the actions of a man who “panicked considerably”.

Unlike the “code states” (Queensland, Western Australia, Tasmania and the Northern Territory) in which the criminal law is codified, NSW technically is a “common law state” although a large number of crimes and procedures have been collected into statutory acts (notably the Crimes Act (1900)) meaning the underlying system administering criminal law remains rooted in precedent (historical, judge-made decisions).  However, between the two approaches, the concept of “self defence” varies little and Mr Lamarre-Condon’s evidence was a case study in how an accused should structure their answers and assertions.  The single most vital aspect in mounting the defence in the case of murder is the defendant must genuinely and reasonably believe their own life was at immediate risk at the hands of the victim, the latter needing to display both an intent to kill and the means to achieve that.  Mr Lamarre-Condon claimed Mr Baird had a knife and he had aimed his shot “at the shoulder” in an attempt to effect a disarming, tell the jury he made the “right call” and had gone into “police mode”, explaining he had said: “Drop the knife or I’ll shoot you”, adding “I knew if I didn’t do that I was 110% going … to be dead … and Jesse Baird would be sitting in my position today.”  He further claimed that in the struggle that ensued after the first shot, he had “accidentally discharged” the firearm.  “I stand by the first shot. I've had lots and lots of time to think about this.  The first shot was intentional the second wasn't.”

Beau Lamarre-Condon in “police mode”.

If the jury accepts that explanation, Mr Lamarre-Condon was correct in saying “It was my fault … I’ve said from the start I am guilty of manslaughter and I am responsible for his death but it wasn’t intentional.”  All that is boilerplate stuff from legal practice textbooks but his explanation of why he was disguised as an Uber Eats delivery driver (with full-face helmet and hi-viz vest) was more imaginative.  He claims it was at a nearby café he “found a parked motorbike with an Uber Eats helmet and jacket” and it was these items he donned for the fateful visit, taking with him “an Uber Eats paper bag” further to enhance the apparent authenticity.  At that point, he became emotional and his voice faltered, saying it was “…this moment here that caused…”  He added: “I wish that I didn’t do this, but I had the thought process of I guess … I could knock on Jesse’s door and if he answered the door he wouldn’t be able to see my face.   I couldn’t be falsely accused of harassment.”  Now in its seventh week, the trial in the NSW Supreme Court before Justice Natalie Adams (b 1965) continues.

Silhouette

Silhouette (pronounced sil-oo-et)

(1) A two-dimensional representation of the outline of an object, as a cut-out or representation drawing, uniformly filled in with black, especially a black-paper, miniature cut-out of the outlines of a person's face in profile.

(2) The outline or general shape of something.

(3) Any dark image outlined against a lighter background; the outline of a solid figure as cast by its shadow.

(4) To show in or as if in a silhouette; to cause to appear in silhouette.

(5) In printing, to remove the background details from (a halftone cut) so as to produce an outline effect.

(6) In motorsport, a category in which limits are placed on modifications changing a vehicle’s side-silhouette.

1759: From the French à la silhouette, named after Étienne de Silhouette (1709–1767), controller general (1759) in the French government.  The surname was a gallicized form from Biarritz in the French Basque country and the southern Basque spelling would be Zuloeta, Zulueta, Ziloeta or Zilhoeta, the construct being zulo (hole, cave) + the suffix -eta (abundance of).  The word came widely to be applied to the artwork (existing since 1743 and sometimes called figure d'ombre (shadow figure) in 1859.  The rare alternative spelling is silhouet and the verb dates from 1876, derived from the noun.  Silhouette is a noun & verb and silhouetted & silhouetting are verbs; the noun plural is silhouettes. 

Lindsay Lohan with pony-tail in silhouette, smoking.

Jeanne Antoinette Poisson, Marquise de Pompadour (1721–1764 and usually referred to as Madame de Pompadour), was a member of the French court of Louis XV (1710–1774; le Bien-Aimé (Louis the Beloved), King of France 1715-1774) and the king’s official chief mistress (that how things then were done) between 1745-1751 and a court favorite until her death.  One way the estimable Madame de Pompadour used her influence was in appointments to government offices.  While some of this was little more than nepotism and the spreading around of available sinecures, one substantive position in the Ancien Régime was Controller-General (the treasurer or finance minister) and to this, de Silhouette, long recognized in France as something of a “wizz kid” in economics, was appointed early in 1759 with the concubine’s support.  The powers of controller-general made whoever held the job powerful but also vulnerable, the task of limiting the expenditure of the king not one likely to be popular in the Palace of Versailles but given the state of the royal exchequer after years of war, the need for reform was urgent.  Modern economic historians seem to regard the job he did as competent and an orthodox example of rationalizing public finances in that he managed both to reduce expenditure and institute a system of taxation simultaneously simpler to administer and more effective although probably more far-reaching were the long-overdue efficiencies he introduced in internal trade.

Silhouette of the Manhattan skyline.

However, despite his success, his budget for 1760 projected a huge deficit and a rising cost in debt servicing.  Seeing no alternative, he suggested adopting some of the methods of the detested English including collecting tax from the previously exempt aristocracy, landed gentry and the richest of the clergy (the latter existing in what would now seem remarkable numbers).  That was his downfall and after less than nine months as controller general, De Silhouette retired to the country although, such was the national fiscal position, his successors were compelled to follow much the same course.  From his bucolic seat, Étienne de Silhouette might have pondered Apris moi le deluge (After me, the flood) the phrase attributed to Louis XV who is reputed to have uttered the words to the Marquise de Pompadour.  It conveys a feeling both narcissistic and nihilistic, the notion that once one is dead it matters little what happens in the world, an intoxicating sentiment expressed by characters in many novels.  Whether the king really spoke these exact words isn’t certain and there are different versions but it’s certainly something he might have said and historians don’t doubt the fragment of thought was a glimpse into the royal mind.  In a more romantic telling of the tale, he whispers to his concubine: Après nous, le deluge (After us, the flood).

Prima Donna Deauville 100^th anniversary bra (p/n 0161810/11); US$172.95 from Silhouette Fine Lingerie.

Why his name endures to describe the two-dimensional black-on-white images we know as silhouettes is obscure but there are two competing theories.  One is that his methods in finance and administration were all about simplifying what had over the centuries become a system of labyrinthian complexity so, a silhouette being about the simplest form of visual art, the association stuck.  A less sympathetic view is that he was thought an austere and parsimonious fellow so his name was linked to the simple, cheap black & white portraits that had since 1843 been popular among those unable to afford more elaborate forms such as an oil painting.  There’s also the suggestion the minimalist art was named as an allusion to his brief tenure as controller-general and finally, although there’s no evidence, some maintain de Silhouette decorated his office with such portraits.  Whatever the reason, the portraits gained their name in 1859, the year of de Silhouette fleeting ministerial career.

Katie Zacharia in silhouette, in bikini.

Still, his brief tenure was longer than that of Katie Zacharia (b circa 1984) who served as the 37^th White House press secretary in the second administration of October 2026 Donald Trump (b 1946; POTUS 2017-2021 and since 2025), her five days in office smashing the ten-day record set in July 2017 by Anthony “The Mooch” Scaramucci (b 1964) during the first Trump administration.  A photogenic creature perhaps not ideally suited to the role, what’s of especial note about Ms Zacharia is she fulfilled pop artist Andy Warhol’s (1928–1987) most famous prediction: “In the future everybody will be world famous for fifteen minutes”, that much-repeated quote first appearing in print in a catalogue for a 1968 exhibition of the artist’s work at the Moderna Museet, Stockholm, Sweden.  Ms Zacharia’s contribution to cultural history was her sole press briefing (in the James S. Brady [1940-2014] Press Briefing Room) on 13 October 2026 that lasted almost exactly 15 minutes.  On 16 October, the White House issued a statement saying Ms Zacharia would be “transitioning into a new role that will be announced at a later date”.  That announcement has yet to be made but to mark Halloween she posted photographs showing her svelte figure in a bikini so there was that.

Silhouette of Mercedes Benz SLC (C107; 1971-1981, left) and 1979 450 SLC 5.0 (right) in competition under the FIA’s silhouette rules.  The FIA (Fédération Internationale de l'Automobile (International Automobile Federation) is world sport's dopiest regulatory body).

Silhouette racing was introduced essentially because it was simple to administer.  There had been a variety of classes for “modified production” cars which permitted changes to bodywork to improve aerodynamic or allow wider wheels & tyres to be used but formulating and enforcing the rules was difficult; the regulations becoming increasingly precise, subject to variations in interpretation and cheating was rife.  What the introduction of a baseline silhouette for each competing vehicle did was provide a simple, literal template: if the car fitted through, it was lawful and if manufacturers wished to change a silhouette and produce a sufficient number of identical models to homologate the car for whatever competition was involved, that was fine.  Sometimes with variations, the silhouette formula widely was adopted in classes as varied as series production to quite radical constructions with space frames or carbon-fibre monocoques and drive-trains unrelated to road-cars, the attraction always that the external skin continues to bear more than a superficial resemblance to a production model, something important to both manufacturers wishing to maintain a tangible link to their consumer offerings and an audience anxious willingly to suspend disbelief.

1974 Lamborghini Uracco P300.

Despite the name, the Lamborghini P300 Silhouette (1976-1979) wasn’t designed with competition in mind; it was an attempt to produce an open-top model able to be certified for sale in the lucrative US market, then a place in which the company had no such offering.  The Silhouette was Lamborghini’s first production targa-top and was based on the P300 Uracco.  Neither the Uracco nor the Silhouette went close to matching the volume of its competitors from Ferrari & Maserati and only 54 of the latter were but both contributed to the company’s survival in the difficult 1970s, something that at times seemed improbable.  The Silhouette’s successor was the P350 Jalpa (1981-1988), the final evolution of the Uracco.  Lamborghini was by then more stable and the Jalpa a much improved product (although the interior always attracted criticism) and not only did it sell in a volume that made production viable but, more importantly, it was profitable.  Like Ferrari’s 208 & 308 GT4 (1973-1980), the styling of the Uracco was never greeted with great enthusiasm but it’s not easy to fit both four seats and a mid-mounted V8 engine into a sleek package, even if the rear seats realistically were best-suited to one’s (very young) children, cat, dog or handbag.

1978 Lamborghini P300 Silhouette. 

First displayed as a prototype at the 1970 Turin Motor Show, the first production Uracco appeared in 1972 with a 2.5 litre V8 and was dubbed P250; it was within twelve months (as the P250S) revised with additional appointments and a slight power increase (except for the emission-compliant US-specification models).  The press reception generally had been positive (some testers even managing to be polite about the looks that, given the design parameters, genuinely were quite accomplished) with the level of adhesion especially praised, the ability (under ideal conditions) to achieve a verified 1.0 G when negotiating fast sweepers then something associated with racing cars on slick tyres.  Just as impressively, that was achieved without sacrificing ride quality, the approach a combination of relatively soft springs, carefully calibrated shock absorbers and immensely stiff anti-roll bars.

1984 Lamborghini Jalpa.  Giallo Fly (yellow fly) is something of a Lamborghini signature color but the wheels on this one have received an after-market re-spray in sympathy, the factory never that committed to monochromaticity.

At a time before supercomputers were available to optimize such dynamics, the Uracco's suspension was was an innovative approach.  In 1974, the P300 was released with the displacement increased to 3.0 litres, something necessitated by the power robbed from the 2.5 by the addition of the anti-emission equipment required to meet the increasingly strict US rules.  However, the carefully laid plans to have a V8 able to be offered in the US proved chimerical and fewer than two dozen were sold before the venture was abandoned.  Now fitted improved DOHC (double overhead camshaft) cylinder heads with a chain drive (the belts used earlier not as robust as improvements in materials would later make possible), performance was comparable with the competition but it was a difficult time to be selling such things and without the vital US market, production never went close to achieving the hoped-for thousand-odd a year.  When in 1979 production ended, 791 had been built (520 P250s, 190 P300s and 77 P200s (a 2.0 litre version designed to suit Italian tax laws). 

Lamborghini Miura Roadster in metallic blue over white leather.

Although the Silhouette was the factory’s first targa to enter series production, a decade earlier, the factory had shown one exquisite creation in that vein.  The modern convention is to distinguish between a roadster (with a roof that wholly can be removed or folded back) and a targa (with a removable panel above the seats (a car with left & right panels being a “T-top”)) but in what now seems a forgivable linguistic quirk, Lamborghini in 1968 displayed a (sort of) targa it called a Roadster.  It would be the only convertible Miura of any type the factory would build.  Although the P400 Miura's rolling chassis had generated much interest (and some scepticism from engineers who understood the implications of installing its mid-mounted V12 engine transversely) when displayed at the 1965 Turin Auto Show, when a pre-production prototype was used for the car’s debut at the Geneva show, it created as much of a sensation as the Jaguar E-Type (XKE, 1961-1974) arrival in the same city half-a-decade earlier.  The Miura is the spiritual ancestor of the “supercars” and “hypercars” of recent decades but while undeniably beautiful, at high-speed (it could exceed 170 mph (275 km/h)) the aerodynamic properties were dubious and the transverse engine induced handling quirks even experts found challenging to master.  Still, with close to 800 made over three series (P400, 1966-1968; P400 S, 1968-1971; P400 SV 1971-1973), it was a great success and the most desirable of the breed are now multi-million dollar machines.  It was quite an achievement for a concern that between 1948-1963 had built only well-regarded tractors & other farm equipment and although the Miura wasn’t the company’s first car, it was the one that gained the marque the credibility to ranked with Ferrari; indeed, greatly it influenced the mid-engined Ferraris and Maseratis of the 1970s as well as encouraging lower-cost imitators such as De Tomaso’s Mangusta (1967-1971) and Pantera (1971-1992).

Lamborghini Miura Roadster in metallic blue over white leather.

Perhaps counterintuitively, the sensuous Miura was named after a breed of bull but it was one prized in bullfighting for its aggressive qualities so one can see the connection.  While a few claim to be cooks who helped stir the broth, the Miura’s lovely lines usually are credited to Marcello Gandini (1938–2024), a designer working at Giuseppe "Nuccio" Bertone’s (1914-1997) Turin-based Carrozzeria Bertone.  The one-off Miura roadster wasn’t exactly the first mid-engined coupé in a targa configuration, Ford building in 1965 five such GT40s (1964-1969) but these were pure racing cars and the first appeared a few weeks before Porsche in 1965 released the 911 Targa so it’s not surprising Ford dubbed the things “roadsters”.  The Fords were actually rolling test-beds for components and featured a number of differences from the more numerous coupés but nor was the Miura Roadster simply a coupé pulled from the assembly line and then de-roofed.  What Bertone did was a significant re-engineering, the roofline lowered by 30 mm (1¼ inches) with the rollover hoop lowered to reduce drag, the angle off the windscreen made more acute and the rear bodywork re-shaped with larger air-intakes for the V12, a more pronounced spoiler fitted to the rear deck, the tail-pipes re-routed with revised taillights fitted.  Unseen were structural changes reinforcing the chassis, the box-section side members strengthened to compensate for the loss of rigidity created by the roofectomy.  Inside, there were detail changes to the trim and switchgear.

Bertone’s Lamborghini Miura Roadster, Brussels Salon de L’Automobile, January 1968. Young ladies adorning exhibits were once a fixture at motor shows and this colorful bevy was more fully clothed than many.

The reaction when the roadster was displayed at Brussels was little less enthusiastic than at Geneva two years earlier, dealers and the factory at once receiving enquiries about price and delivery dates.  Unfortunately, what the designers knew was that stunning though it looked, what the removal of the roof had done was so compromise the structural rigidity that not even the strengthening done to the platform had been enough to make the Roadster viable for series production.  To achieve that, the whole shell would have had to be re-engineered and Lamborghini’s engineers knew that though achingly lovely, the shape and the transverse mounting of the V12 which made it possible were both flawed concepts, the future being in longitudinally-positioned power-plants within an angular wedge.  Those conclusions would be rendered in physical form when the prototype Countach appeared at Geneva in 1971 and its lines can be seen still in twenty-first century Lamborghinis and many other machines.  Ultimately, the shape of the Countach proved more influential but the Miura incontestably was more lovely. 

The ILZRO’s ZN 75 in iridescent green over tan leather.  The delightful “eyelashes” above the Miura's headlights unfortunately didn't appear on the P400 SV.

So the Roadster was destined to be a one-off curiosity but the show car subsequently had an interesting life.  In 1969 it was purchased by the New York-based ILZRO (International Lead Zinc Research Organization) that wanted something eye-catching with which to promote the use of the metals in automotive use.  Renamed ZN 75, it became a demonstration platform for zinc and lead applications in automotive engineering; it was repainted in an iridescent green, and various components were recast in zinc and lead-alloys, including trim, bumpers and even engine parts.  On the periodic table, the chemical element zinc has the symbol “Zn” while the “75” was a reference to 1975, the year the ILZRO and other industry groups were lobbying the regulators to set as the date by which new automotive materials and corrosion-resistance standards would become widespread.  The ILZRO’s campaign emphasis was on galvanization and anti-corrosion technologies, with the argument that by the mid-1970s, manufacturers would need extensively and more systematically to use zinc and such to meet with expectations of durability and comply with legislative dictate.  During the 1970s, ZN 75 was shown around North America, Europe, and Asia, becoming one of the more widely displayed Miuras and decades later, was restored to its original appearance.  Whether it even should be referred to as a targa is debatable because Bertone didn’t include a removable roof panel but, over the years, some Miuras have been converted to targas (with a removable panel) so pedants can dub the original roadster as being “in the targa style”.