Apollo

Apollo (pronounced uh-pol-oh)

(1) The ancient Greek and Roman god of light, healing, music, poetry, prophecy, manly beauty and quite some more.

(2) Popular term to describe strikingly handsome youth.

(3) In aerospace, the National Aeronautics and Space Administration's (NASA) programme of spacecraft (1961-1972) which between 1969-1972 carried 12 US astronauts to the moon and back.

(4) A Eurasian mountain butterfly, Parnassius apollo.

From classical Greek mythology, the name is a Latin form of the Greek Apollon, often cited as related to an obsolete Greek verb apollymi (to destroy) but there’s nothing conclusive.  More compelling is the notion it’s a cognate to the Doric month Apellaios and the offerings apellaia at the initiation of young men during the family-festival apellai.  Essentially, theories about Greek origins and a number of non-Greek etymologies are all speculative.

Apollo and the Muses, oil on canvas pentyptych (circa 1985) by Charles Meynier (1763 or 1768-1832).  Although in his notes the artist referred to the five panels as a pentyptych, that reference was conceptual and they've always been hung as five separate, framed canvases. 

From left to right: (1) Polymnia was one of the nine muses in Greek mythology and a patron of dancing or geometry.  Here she is depicted  standing in front of a bust of the Athenian orator Demosthenes. (2)  Erato, the muse of lyric and erotic poetry, is often shown with the golden arrow received from Eros (or Cupid), a sign of the emotion that inspires her.  (3) Urania leans on a starry orb, an allusion to her role as the muse of astronomy.  As all good muses must, she is staring dreamily at a god or man.  (4) The eldest of the nine Greek muses, Calliope was the goddess of music, song, and dance.  She was also known as the goddess of epic poetry and conferred the gift of eloquence on kings and princes. She stands here before a bust of Homer, the ancient Greek poet who history credits with having written the epic poems the Odyssey and the Iliad.  (5) Clio, the Greek muse of history, was the daughter of Zeus and Titaness Mnemosyne, the goddess of memory and is here depicted writing while surrounded by objects associated with preserving the memory of historical figures and events: busts, reliefs, and sculptures.  Clio's name was from the Greek root κλέω or κλείω (to recount; to make famous; to celebrate) and Clio is the traditional Latinisation but there has among classicists for centuries been a faction which uses K to represent the original Greek kappa, and ei to represent the diphthong ει (epsilon iota), thus the appearance in some texts of Kleio.

The paintings were commissioned by a textile merchant who planned to hang them in a grand gallery in his Toulouse townhouse but he went bankrupt prior to delivery and the paintings were purchased by a Swiss general who took them to his castle in Wallenried.  A wing had been added to the castle just to display the general's collection and there Apollo and the Muses remained for almost 180 years.  Although in good condition, when re-discovered, there were signs of neglect typical of works not carefully curated under controlled conditions.  The fluctuations in temperature and humidity at the castle had caused cracking in the surfaces and, over time, the sheer weight of the canvases caused the tacking edges to deteriorate and pull away from their stretchers, creating large drape-like buckles.  Most also exhibited varying degrees of the dreaded “traction crackle”, the degenerative process in which a paint layer on the surface shrinks faster than an underlying layer underneath, resulting in wide cracks revealing the color below.  The original hand-carved frames were intact and needed only the time-consuming conservation work to address the deterioration of their gesso and gold.

All of the paintings needed reduction of their varnish layers which had grown dull and dis-colored, descending to a brownish-orange tinge and when first viewed, all the works were dark, dull and murky, as if the muses were stepping out of a dense fog.  Worse, at some point, a prudish white veil had been painted over the body of Cupid many years after Meynier had died, a contemporary watercolor by the artist and an etching documenting the Salon of 1801 both showing the radical intervention was not part of the original.  Restoration was challenging because the original paint had aged for least 75 years before Cupid’s drapery and working under high magnification, conservators spent much time removing the 180 square inches of overpainting, re-shaping and re-sharpening scalpels so the unwanted could be chipped away without harming the original paint.  When complete, the restoration enhanced Meynier’s reputation because for the first time it became apparent he was one of the era's great colorists, his use of juxtaposed, muted complementary colors in draperies and skin tones creating soft vibrancies that undulate throughout the entire suite.

Planet Earth photographed from Apollo 8 as it rounded the dark side of the moon, 1968.  Our lovely blue home is like the most precious jewel in a desert of cold rocks, swirling gas and fiery relics.  We should look after it. 

Apollo has variously been recognized as a god of music, truth and prophecy, healing, the sun and light, plague, poetry, and more.  Apollo was the son of Zeus and Leto, and had a twin sister, the chaste huntress Artemis.  An oracular god, the prophetic deity of the Delphic Oracle, medicine and healing were associated with Apollo although, in one of the paradoxes which are part of the charm of the myths of Antiquity, he was also seen as a god who could bring ill-health and plague.  As the leader of the Muses and their choir, Apollo functioned as the patron god of music and poetry and, using the lyre created for him by Hermes became the most common attribute in the works of art created in his honor.  The hymns sung to Apollo were called paeans and his most important daily task was to harness and ride his four-horse chariot with which he moved the Sun across the sky.

Map of the Greek Islands.

In most of the tales in Greek mythology, Apollo was born on the island of Delos and it's said Leto was unable to find a safe place to give birth because the jealous goddess Hera had placed a curse on her.  However, the island of Delos which until that moment had been floating around the Aegean suddenly became stable and anchored to the seabed, providing a safe birthplace for Apollo and his twin sister Artemis.  After that, not much happened in the region for a few millennia, the next significant event in 2019 when the MTV series Lindsay Lohan’s Beach Club was filmed on the neighboring island of Mykonos

Stiletto

Stiletto (pronounced sti-let-oh)

(1) A small, slender knife or dagger-like weapon intended for stabbing; usually thick in proportion to its width.

(2) An archaic name for the rapier.

(3) A pointed instrument for making eyelet holes in needlework; a sharply pointed tool used to make holes in leather; also called an awl.

(4) A very high heel on a woman's shoe, tapering to a very narrow tip, also called the spike heel or stiletto heel.

(5) A beard trimmed to a pointed form.

(6) A style used in the fashioning of decorative fingernails.

1605–1615: From the Italian stiletto, a doublet of stylet, the construct being stil(o) (dagger or needle (from the Latin stilus (stake, pens))) + -etto (-ette) and from the Latin stilus came also stelo, an inherited doublet.  The etto- suffix was used to forms nouns from nouns, denoting a diminutive.  It was from the Late Latin -ittum, accusative singular of –ittus, and was the alterative suffix used to form melioratives, diminutives, and hypocoristics and existed variously in English & French as -et, in Italian as Italian -etto and in Portuguese & Spanish as -ito.  With an animate noun, -etto references as male, the coordinate female suffix being -etta, which is also used with inanimate nouns ending in -a.  It should not be confused with the homophonous suffix -eto.  Stilus was from the primitive Indo-European (s)teyg- (related to instīgō & instigare) and was cognate with the Ancient Greek στίζω (stízō) (to mark with a pointed instrument) and the Proto-Germanic stikaną (to stick, to stab).  Despite the similarity, there’s no relationship with the Ancient Greek στῦλος (stûlos) (a pillar).

A quasi-technical adoption in law-enforcement and judicial reports were the verb-forms stilettoed & stilettoing, referring to a stabbing or killing with a stiletto-like blade.  It was a popular description used by police when documenting the stabbing by wives of husbands or boyfriends with scissors or kitchen knives; use faded in the mid-twentieth century.  The idea of a long, slender beard trimmed into a pointed form being "a stiletto" popular in the sixteenth & seventeenth centuries but all such forms seem now to be referred to either as "a goatee" or "a Van Dyke".  The adjectival use can also sometimes need to be understood in the context of the phrase or sentence: "a stilettoed foot" can be either "the foot of someone wearing a shoe with a stiletto heel" or "a foot which has been stabbed with a long, thin blade.  Stiletto & stilettoing are nouns & verbs, stilettoed is a verb & adjective and stilettolike (also stiletto-like) is an adjective; the noun plural is either stilettos or stilettoes.

Of blades and heels

The stiletto design for small bladed weapons pre-dates not only modern metallurgy but antiquity itself.  The essence, a short, relatively thick blade, was technologically deterministic rather than aesthetic, most metals of the time not being as sturdy as those which came later.  Daggers were for millennia an essential weapon for personal protection but, particularly after developments in ballistics; they tended to evolve more for formal or ceremonial purposes.

The Schutzstaffel (SS) dagger model M1933 (often abbreviated to M33).

The M1933 was the standard issue to all SS members, the hilt either silver or nickel-plate while the grip was black wood.  Produced in large numbers, collectors are most attracted to the low-volume variations such as those without the manufacturer’s trade-mark or RZM control markings.  Most prized are the rare handful with a complete "Ernst Röhm inscription" which read In herzlicher freundschaft, Ernst Röhm (In heartfelt friendship, Ernst Röhm).  Given his his habits, enjoying Röhm's "friendship" would for a few have proved a double-edged sword.   Some 136,000 of the engraved SA daggers were produced, a further 9900-odd distributed to the SS.  After Röhm (1887–1934; chief of the Nazi Sturmabteilung (the stormtroopers (the SA)) was executed during the Nacht der langen Messer (Night of the Long Knives), also called Unternehmen Kolbri (Operation Hummingbird) in 1934, all holders of the Röhm Honour Dagger were ordered to have the inscription removed and most complied, the unmodified survivors thus highly collectable although in some countries, the very idea of trading Nazi memorabilia is becoming controversial.  As ceremonial devices, bladed weapons were a feature of the uniforms worn during the Third Reich (1933-1945) and they were issued to all branches of the Wehrmacht (the German armed forces) the police, the various paramilitaries, the diplomatic service as well as organizations as diverse as the railways, the fire services, the forestry service and the postal office.  In this they were continuing a long German tradition but the Nazis vision of a homogenous, obedient population included the notion that uniforms should be worn wherever possible and there is something in the cliché that (at least at the time), no German was ever as happy as when they were in uniform.

Although the term is used widely, in the narrow technical sense, not all slim, high heels are stilettos.  The classic stilettos were the extremely slender Italian originals produced between the 1930s and 1960s, the heels of which were no more than 5 mm (0.2 inch) in diameter for much of their length, flaring at the top only to the extent structurally required successfully to attach to the sole; the construction of solid steel or an alloy.  Many modern, mass-produced shoes sold as "stilettos" are made with a heel cast in a rigid plastic with an internal metal tube for reinforcement, a design not having the structural integrity to sustain the true stiletto shape.  However, English is democratic and in the context of footwear, "stiletto" now describes the visual style, regardless of the materials.

The lines of the classic black stiletto (top left) were long ago made perfect and can't be improved upon; such is the allure that many women are prepared to endure inconvenience, instability, discomfort and actual pain just to wear them.  They appeal too to designers and the style, the quintessential feminine footwear, has been mashed-up with sneakers, Crocs, work-boots, sandals and even a scuba-diver's flippers (though they really were at home only on the catwalk).  Military camouflage is often seen, designers attracted by the ultimate juxtaposition of fashion and function.  The Giuseppe Zanotti Harmony Sandals (bottom row, second from right) were worn by Lindsay Lohan on The Masked Singer (2019).    

In the world of fingernail fashioning, there are stilettos and stilettos square.  A statement shape, something of a triumph of style over functionally, the stiletto gains its dramatic effect from long and slender lines and can be shaped with either fully-tapered or partially square sides.  They’re vulnerable to damage, breaking when subjected to even slight impacts and almost never possible with natural growth and realistically, pointed nails, certainly in their more extreme iterations (the stilettos, lipstick, mountain peaks, edges, arrow-heads, claws or talons), are more for short-term effect than anything permanent.  Best used with acrylics, the knife-like style can be a danger to the nail itself and any nearby skin or stockings.  Those contemplating intimacy with a women packing these should first ponder the implications.  True obsessives insist the stiletto styles should be worn only with matching heels and then only if the colors exactly match.

1964 Hillman Imp.

The Hillman Imp was a small economy car introduced in 1964.  It was the product of the Rootes Group which needed an entry in a market segment which had been re-defined by the British Motor Corporation’s (BMC) Mini and although similar in size, the engineering was radically different: rather than the Mini's front-engine / front wheel drive (FWD) arrangement which became (and to this day remains) the template for the industry, the Imp was configured with a rear-engine and rear wheel drive (RWD), something which had for decades been a feature of small Europeans cars but was in the throes of being abandoned.  It never achieved the commercial success of the BMC product although it continued in production after 1967 when the Rootes group was absorbed by Chrysler and, perhaps remarkably, it remained on the books until 1976.  In that time, it sold in not even 10% of the volume achieved by the Mini between 1959-2000.

Hillman Imp V8, Oran Park, Sydney, Australia, 1971.

The Hillman Imp did enjoy some success in competition, winning three successive British Saloon Car Championships between 1970-1972 (competing in Class A (under 1000 cm³)) but years earlier, its light-weight and diminutive dimensions had appealed to Australian earth-moving contractor Harry Lefoe (1936-2000) who had a spare 302 cubic inch (4.9 litre) Ford (Windsor) V8 sitting in his workshop.  By then, the Imp was a Chrysler product but because the published guidelines of the Australian Sports Sedan Association (ASSA) restricted engines to those from cars built by the manufacturer of the body-shell, the small-block Ford V8 could be put in an Imp because it had been used in the earlier Sunbeam Tiger.  So the big lump of an iron V8 replaced the Imp's 875 cm³ (53 cubic inch) aluminium four and such was the difference in size that Lefoe insisted his Imp had become "mid-engined" although it seems not to have imparted the handling characteristics associated with the configuration, the stubby hybrid infamous for its tendency to travel sideways.  It was never especially successful but it was loud, fast, spectacular and always a crowd favourite.

1967 Sunbeam Stiletto.

Introduced in 1967, the Sunbeam Stiletto was a “badge-engineered” variant of the Imp (there were also Singers), the name an allusion to the larger Sunbeam Rapier (a stiletto a short blade, a rapier longer).  Badge engineering (a speciality of the British industry during the post-war years) was attractive for corporations because while it might increase unit production costs by 5-10%, the retail price could be up to 40% higher.  Very much a “parts-bin special” (although there was the odd unique touch such as the quad-headlamps and the much-admired dashboard), mostly it was a mash-up, the fastback bodywork already seen on the Imp Californian and some interior fittings and the more powerful twin carburettor engine shared with the Singer Chamois.  Curiously, some sites report the fastback lines proved less aerodynamically efficient than the Imp’s more upright original, the opposite of what was found by Ford in the US when the “formal roof” Galaxies proved too slow on the NASCAR ovals, a “semi-fastback” at essentially the same angle as the Stiletto proving the solution; the physics of aerodynamics can be counter-intuitive.  Stiletto production ceased in 1972 with the Sunbeam brand-name retired in 1976 although Chrysler used it as a model name until 1981.

Lindsay Lohan in Christian Louboutin Madame Butterfly black bow platform booties with six-inch (150 mm) stiletto heel.

Ogee

Ogee (pronounced oh-jee)

(1) A double curve, resembling the letter S, consisting of two arcs that curve in opposite directions so that the ends are parallel.   An ogee is a kind of sigmoid curve, technically formed by the union of a concave and a convex line.

(2) In architecture, a molding with such a curve for a profile; cyma, also called gula or talon.

(3) In fluid mechanics, a specific aerodynamic profile.

(4) In mathematics, an inflection point.

(5) In cosmetic surgery, a desired shape for the curve of the malar or cheekbone prominence transitioning into the mid-cheek hollow.

(6) In distillation, the bubble-shaped chamber of a pot still connecting the swan neck to the pot which allows distillate to expand, condense and fall back into the pot.

1275-1325: From the Middle English ogeus (plural oggez), ogeve, egeve & egeove, variants by assimilation from the French oggif (diagonal rib of a vault) from the Old French œgive, ogival, ogive & augive, from the Late Latin augiva of uncertain origin.  In the Late Latin there was ogis (a support, prop), thought derived from the Classical Latin augeō (to increase, strengthen) from which Spanish gained auge (highest point of power or fortune; apogee); a doublet of ogive.  The use in architecture to describe regular & irregular S-shaped moldings began in the 1670s, supplanting the earlier augive, from the Late Latin augiva of uncertain origin but perhaps related to the Latin via (way; road).  In the Middle English, the late thirteenth century ogif was "a stone for the diagonal rib of a vault", derived from the French and the Medieval Latin ogiva.

An Ogee arch.

An ogee is a curved shape vaguely like an “S”, consisting of two arcs that curve in opposite senses, so that the ends are tangential.  In architecture, it’s used to describe a molding with a profile made by a lower concave arc flowing into a convex arc.  Used first in Persian and Greek architecture from Antiquity, it’s most familiar now as a part of the Gothic style.  Because the upper curves of the ogee arch are reversed, it’s not suitable where the load-bearing rates are high and it’s thus used mostly in self-supporting structures exposed to their own weight and not subject to high external forces.

An inflection point.

In mathematics, an ogee is an inflection point, a point on a curve at which the sign of the curvature (ie the concavity) changes; inflection points may be stationary but are neither local maxima nor local minima.  Inflection Points merely mark the point on the curve where it changes from concave upward to concave downward (or vice versa), it is not a directional measure.  Calculus is needed to find where a curve goes from concave upward to concave downward and for this mathematicians use derivatives, one which determines the slope and a second which defines whether the slope increases or decreases.

The cosmetic surgeon's template.

When cosmetic surgeons speak of the ogee curve, they’re referring to the elongated S curve which, when looking at a patient’s face at a three-quarter aspect, describes the curve from the eye through the cheek down to below the cheek (technically the malar or cheekbone prominence transitioning into the mid-cheek hollow).  As people age, the face loses volume in our face and the ogee curve flattens out. With facelifts and related procedures, the cosmetic surgeon aims to create an ogee curve, restoring the chiseled refinement of youth.

Lindsay Lohan, Cosmopolitan, October 2022 edition (photographs by Ellen Von Unwerth (b 1954)).  The photographs illustrate the ideal ogee curve in the facial structure and Ms Lohan shows how a model's pout can be used to optimize the effect.  The car is a second generation AMC Javelin (1971-1974).

Shapes derived from the ogee curve are popular design motifs used for just about everything where they can be applied but it's most associated with large, flat surfaces because it's in such spaces the geometric repetition can be most effective, thus the prevalence in fabrics, wallpaper and floor-coverings.  The mind visualizes the shape as something like a two-headed onion and it's probably the association with the architectural style so often seen on mosques or other structures in the Arab world that in there's presumed to be some Islamic influence but ogee long pre-dates Islam.  There are few conventions of use except that the designs tend to be displayed in either a horizontal or vertical aspect; diagonal deployment is rare.

In fluid mechanics, the ogee describes the shape used to create certain aerodynamic profiles, the classic example being the delta wing of the Concorde airplane.  The ogee-type wing used on the Concorde one flavor of the compound delta (sometimes called double delta or cranked arrow) where the leading edge is not straight.  Typically the inboard section has increased sweepback, creating a controlled high-lift vortex without the need for a foreplane and the shape of the sweepback is defined by the parameters of the ogee.  On the Concorde, the two sections and cropped wingtip merge into a smooth ogee curve.

Gore

Gore (pronounced gawr or gohr)

(1) Blood when shed, especially in volume or when coagulated.

(2) Murder, bloodshed, violence etc, often in the context of visual depictions (film, television etc) and frequently an element in the “pornography of violence”.

(3) Dirt; mud; filth (obsolete except in some regional dialects and obviously something of which to be aware when reading historic texts).

(4) In cartography, the curved surface that lies between two close lines of longitude on a globe (or the as represented in the segmented two-dimensional depiction in certain maps or charts.

(5) In nautical design, a triangular piece of material inserted in a sail to produce a greater surface areas or a desired shape.

(6) In apparel, one of the panels, usually tapering or triangular in shape, making up a garment (most often used with skirts) or for other purposes such as umbrellas, hot-air balloons etc.

(7) In a bra (sometimes (tautologically) as “centre gore”), the panel connecting the cups and houses centre ends of the underwires (if fitted).

(8) On cobbling, an elastic gusset for providing a snug fit in a shoe.

(9) A triangular tract of land, especially one lying between larger divisions; in the jargon of surveying, a small patch of land left unincorporated due to unresolved competing surveys or a surveying error (also know in the US as “neutral area” and in the UK as “ghost island”).

(10) In road-traffic management, a designated “no-go” area at a point where roads intersect.

(11) In heraldry, a charge delineated by two inwardly curved lines, meeting in the fess point and considered an abatement.

(12) To create, mark or cut (something) in a triangular shape.

(13) Of an animal, such as a bull, to pierce or stab (a person or another animal) with a horn or tusk.

(14) To pierce something or someone (with a spear or similar weapon), as if with a horn or tusk.

(15) To make or furnish with a gore or gores; to add a gore.

Pre 900: From the Middle English gorre & gore (filth, moral filth), from the Old English gor (dung, bull dung, filth, dirt), from the Proto-Germanic gurą (half-digested stomach contents; faeces; manure) and the ultimate source may have been the primitive Indo-European gher- (hot; warm).  It was cognate with the Dutch goor, the Old High German gor (filth), the Middle Low German göre and the Old Norse gor (cud; half-digested food).  The idea of gore being “clotted blood” dates from the 1560s and was applied especially on battlefields; the term gore-blood documents since the 1550s.

The noun gore in the sense “patch of land or cloth of triangular shape” dates also from before 900 and was from the Middle English gor, gore, gar & gare (triangular piece of land, triangular piece of cloth), from the Old English gāra (triangular piece of land, corner, point of land, cape, promontory) the ultimate source thought to be the Proto-Germanic gaizon- or gaizô.   It was cognate with the German Gehre (gusset) and akin to the Old English gār (spear).  The seemingly strange relationship between spears, pieces of fabric and patches of land is explained by the common sense of triangularity, the allusion being to the word gore used in the sense of “a projecting point”, the tip of a spear visualized as the acute angle at which two sides of a triangle meet.  From this developed in the mid-thirteenth century the use to describe the panel used the front of a skirt, extended by the early 1300s just about any “triangular piece of fabric”.

Al Gore (b 1948; US vice president 1993-2001) with crooked Hillary Clinton (b 1947; US secretary of state 2009-2013).  Al Gore used to be “the next President of the United States” and when this photo was taken at Miami Dade College, Florida during October 2016, crooked Hillary was also TNPOTUS.  They have much in common.

Al Gore's oft-repeated (and much derided) "quote" that he "invented the internet" is a misrepresentation of his actual statement, made on 9 March 1999 during an interview with CNN reporter Wolf Blitzer (b 1948): "I took the initiative in creating the Internet."  By this, Gore meant that while a member of the Senate during the 1980s, he was an advocate of the roll-out of high-speed telecommunications and network infrastructure.  He introduced legislation that led to the increased funding for and and expansion of the ARPANET (the US Advanced Research Projects Agency Network, the first public packet-switched computer network which operated between 1969-1989; the precursor to the modern internet, it was used mostly by the academic institutions and the military).  The High Performance Computing and Communication Act (1991) was known as the "Gore Bill" and it provided the framework for the national infrastructure.  However one looks at things, he achieved more than crooked Hillary.

Gore entered the jargon of surveying in the 1640s, adopted in the New England region of the American colonies to describe “a strip of land left out of any property by an error when tracts are surveyed”.  Such errors and disputes were not uncommon (there and elsewhere), the most famous resolved by the Mason-Dixon Line, the official demarcation defining the boarders of what would become the US states of Pennsylvania, Maryland, Delaware, and West Virginia (which was until 1863 attached to Virginia).  The line was determined by a survey undertaken between 1763-1767 by two English astronomers Charles Mason (1728–1786) & Jeremiah Dixon (1733–1779), commissioned because the original land grants issued by Charles I (1600–1649; King of England, Scotland & Ireland 1625-1649) and Charles II (1630–1685; King of Scotland 1649-1651, King of Scotland, England and Ireland 1660-1685) were contradictory, something not untypical given the often outdated and sometimes dubious maps then in use.  Later, "Mason-Dixon Line" would enter the popular imagination as the border between "the North" and "the South" (and thus "free" & "slave" states) because the line, west of Delaware, marked the northern limit of slavery in the United States.  Even though the later abolition of slavery in some areas rendered the line less of a strict delineation for this purpose, both phrase and implied meaning endured.

Arizona Department of Transport’s conceptual illustration of a gore used in traffic management.  The gore area is (almost always at least vaguely triangular) space at a point where roads in some way intersect and depending on the environment and available space, a gore may be simply a designated space (often painted with identifying lines of various colors) or a raised structure, sometime large and grassed.  The purpose of a gore is to ensue (1) the visibility of drivers is not restricted by other vehicles (most important with merging traffic) and (2) vehicle flow is in a safe direction and for this reason gores are designated “no go” areas through which vehicles should neither pass nor stop; something often enforced by statute.

The verb (in the sense of “to pierce, to stab”) emerged in the late fourteenth century (although use seems to have been spasmodic until the sixteenth) and was from the Middle English gorren & goren (to pierce, stab) which was derived from gōre (spear, javelin, dart), from the Old English gār (spear, shaft, arrow).  The adjective gory (covered with clotted blood) dates from the late fifteenth century and developed from the noun and the derived noun goriness is now a favorite measure by which produces in the horror movie genre are judged, some sites offering a “goriness index” or “goriness rating” for those who find such metrics helpful (the noun gorinessness is non-standard but horror movie buffs get the idea).  “To gore” also meant “add a gore (to a skirt, sail etc)” but surprisingly given the profligate ways of English degore or de-gore (removing a gore form a skirt, sail etc) seems never to have evolved.  Gore is a noun & verb, gory is an adjective, gored is a verb & adjective, goriness is a noun and goring is a verb; the noun plural is gores.

Shyaway’s diagram detailing how even mainstream bras can have as many as 16 separate components although more individual parts are used in the construction; some (obviously) at least duplicated.  Who knew?

The gore (sometimes (tautologically) as “centre gore”) fits in the space between breasts, the panel connecting the cups and providing locating points for the centre ends of the underwires (if fitted).  Because there are so many types of design, the height of gore varies greatly, one fitted to a full support bra rising higher than that used by a plunge bra but the general principle is the panel should lie flat between the breasts, aligned with the skin, the gore's purpose as a piece of structural engineering being to provide separation.

HerRoom's deconstruction of the art and science of the gore.

According to HerRoom.com, the significance of the gore sitting firmly against the sternum is it provides an indication of fit.  If a gap appears between skin and gore, that suggests the cups lack sufficient depth and the user should proceed up the alphabet until snugness is achieved.  Where the gap is especially obvious (some fitters recommending a standard HB pencil as a guide while others prefer fingers, the advantage with the pencil being that globally it's a uniform size), it may be necessary to both go up more than one cup letter and decrease the band-size although there are exceptions to the gore-sternum rule and that includes “minimizers” (which achieve their visual trick by a combination of reducing forward protection and redistributing mass laterally) and most “wireless” (or “wire-free”) units (except for the smaller sizes).  The design of the gore also helps in accommodating variations in the human shape; although almost all gores are triangular and the difference in their height is obvious (and as a general principle: the greater the height, the greater the support) a difference in width will make different garments suitable for different body-types.

Gory: Lindsay Lohan was photographed in 2011 & 2013 by Tyler Shields (b 1982) in sessions which involved knives and the depiction of blood.  The shoot attracted some attention and while the technical achievement was noted, it being quite challenging to work with blood (fake or real) and realize something realistic but it was also criticized as adding little to the discussion about the pornography of violence against women.

Leap

Leap (pronounced leep)

(1) To spring through the air from one point or position to another; to jump.

(2) Quickly or suddenly to move or act.

(3) To cause to leap.

(4) A spring, jump, or bound; a light, springing movement.

(5) The distance covered in a leap; distance jumped.

(6) A place leaped or to be leaped over or from.

(7) A sudden or abrupt transition.

(8) A sudden and decisive increase.

(8) In folk mythology, to copulate with or coverture of (a female beast) (archaic).

(9) In slang, to copulate with (a human) (archaic).

(10) A group of leopards.

(11) In figurative use, a significant move forward.

(12) In figurative use, a large step in reasoning (often one that is not justified by the facts, hence the sceptical phrase “a bit of a leap” & “quite a leap”).

(13) In mining (also used in geology), a fault.

(14) In aquatic management, a salmon ladder; a trap or snare for fish, historically constructed with fallen from twigs; a “weely”.

(15) In music, a passing from one note to another by an interval, especially by a long one, or by one including several other intermediate intervals.

(16) An intercalary measure, best-known as “leap year”, “leap second” et al.

(17) In pre-modern measures of weight, half a bushel.

Pre 900: From the Middle English lepen, from the Old English hlēapan, from the Proto-West Germanic hlaupan, from the Proto-Germanic hlaupaną (a doublet of lope, lowp, elope, gallop, galop, interlope and loop).  It was cognate with the German laufen (to run; to walk), the Old Norse hlaupa the Gothic hlaupan, the West Frisian ljeppe (to jump), the Dutch lopen (to run; to walk), the Danish løbe and the Norwegian Bokmål løpe, from the primitive Indo-European klewb- (to spring; stumble) (and may be compared with the Lithuanian šlùbti (to become lame) & klùbti (to stumble).  The verb forms are tangled things.  The third-person singular simple present tense is leaps, the present participle leaping, the simple past leaped or leapt (lept & lope the archaic forms) and the past participle is leaped or leapt or (lept & lopen the archaic forms).  That leapt and leaped remain in concurrent use is another of those annoy things in English which are hangovers from their ancient entrenchments in regional use and, as a general principle leapt tends to be is preferred educated British English while leaped is seen more frequently in North America (although leapt is in those places not uncommon, especially in areas with historical ties to England).  The transitive sense as in “pass over by leaping” was in use by the early fifteenth century and there are references to the children’s game “leap-frog” documented in the 1590s, and so obvious was the use of that figuratively it probably quickly was adopted but the first attested entry dates from 1704.  The familiar “to leap tall buildings in a single bound” comes from the Superman comics of the 1940s although in idiomatic use, “leaps” has been paired with “bounds” since at least since 1720.  Leap is a noun, verb & adjective, leaper & leapling are nouns and leaping and leapt & leaped are verbs; the noun plural is leaps.

The leap year is “a year containing 366 days” and use dates from late fourteenth century Middle English lepe gere, a genuine innovation because no equivalent term existed in the Old English. The origin is thought to come from the effect of fixed festival days, which normally advance one weekday per year, to “leap” ahead one day in the week.  The Medieval Latin was saltus lunae (omission of one day in the lunar calendar every 19 years), the Old English form being monan hlyp.  The adjustments happened in the calendars of many cultures, always with the purpose of ensuring the man-made devices for tracking dates (and therefore time) remained consistent with the sun; summer needed always to feel like summer and winter like winter.  Different methods of handling the intercalary were adopted and in England the bissextile was the device.  The noun & adjective bissextile (plural bissextiles) dates from the early 1580s and was from the Latin bisextilis annus (bissextile year), the construct being bisextus + -ilis, deconstructed as bis- (two; twice; doubled) + sextus (sixth) + dies (day) and was a reference to the Julian calendar's original reckoning of its quadrennial intercalary day as a 48-hour 24 February (subsequently distinguished as the two separate days of the sixth day before the March calends (sexto Kalendas Martii) and the “doubled sixth day”.  In modern use, 24 February is now understood as “five days before 1 March” but in Roman use it was called “the sixth” because the counting of dates was then inclusive.

Trace element of Leap Year: Lindsay Lohan in Irish Wish.

For those who understand the reference, Lindsay Lohan's new Netflix movie Irish Wish (2024) is said by Irish reviewers to be "a mix of Leap Year meets Just My Luck meets Freaky Friday in which Lohan stars as quiet book editor Maddie Kelly, who embarks on a journey to find love by learning to love herself first."  Like Irish Wish, Leap Year (2010) was filmed in Ireland.

The replacement of the bissextile by the then novel 29 February every four years-odd appears such an obviously good idea it seems strange it took centuries universally to be adopted in England although the documents reveal the shift was certainly well in progress by the mid-fifteenth century and in an echo of later practices, the more curmudgeonly the institution, the slower the intrusion of the new ways, the Admiralty and houses of parliament ignoring 29 February until well into the 1500s.  It wasn’t until the Calendar (New Style) Act (1750) passed into law that 29 February received formal recognition in UK law.  The reform worked well from the start but in some jurisdictions, government lawyers took no chances and for the handful of souls born on a 29 February, their birth dates were deemed to be 28 February or 1 March for all legal purposes (eligibility for drivers licenses or pensions, age of consent etc).  One born on 29 February is a “leapling” and there are said to be a few as five million of these lonely souls on the whole planet.  In many countries hospitals and midwives note the frequency with which expectant mothers approaching March request staff do whatever is required to avoid them giving birth to a leapling, fearing the child will feel deprived by having fewer birthdays than their siblings of friends.  The math of the leap year is it is one (1) evenly divisible by 4, (2) except for years are evenly divisible by 100 except that (3) years evenly divisible by 400 are leap years.  So, 2000 was while 1900 was not; 2100 will not be a leap year, but 2400 will be.  However, because the rotation of the Earth is changing (and thus the length of days), as is its distance from the Sun, even a 29 February now and then is not enough to keep everything in sync.  So, there are also leap seconds, spliced in as needed and unlike 29 February, only those dealing with atomic clocks and such notice addition.

Leap is common in idiomatic use:  To do something in “leaps and bounds” suggests commendably quick progress.  A “leap in the dark” is to take some action while being uncertain of consequences and the related “leap of faith” is trusting in something that cannot be seen or proven so in a sense they’re two ways of saying much the same thing although “leap of faith” does also imply some trust in something or someone.  To have one’s heart “leap into one’s throat” is an allusion to the sensation felt sometimes in the throat when something scary happens.  To “leap for joy” is much the same as “jump for joy” and describes joyous happiness.  To “leap at” something is enthusiastically to take up an offer, avail one’s self of an opportunity etc.  When doing so, one might be said to “leap into action”.  To be cautioned to “look before you leap” is to suggest one should be sure of things before doing something; if one ignores the advice then it’s a “leap of faith” or a “leap into the dark”.  To “leapfrog” is to skip a step in some process, the connotation almost always positive.  To suggest someone “take a flying leap” is much the same as telling them to “go jump in the lake” or, as is now more common: “fuck off”.  The concept of the "quantum leap" was in 1913 introduced (as the "quantum jump") by Danish physicist Niels Bohr (1885–1962) in his "Bohr model" of the atom.  In the strange world of quantum mechanics it describes the discontinuous change of the state of an electron in an atom or molecule from one energy level to another and was adopted figuratively to refer to an "abrupt, extreme change".  In modern use, it has come to mean a large or transformative change, a use to which pedants sometimes object but this is how the English language works.  The “leap year bug” is jargon rather than a idiom and describes the growing number of instances of problems caused by computers (and related machines) for whatever reason not correctly handling the existence of leap years.  Most are caused by human error and some are not being rectified because the original error has been built upon to such an extent that it’s easier to handle the bugs as they occur.  If something is said to be “a bit of a leap” or “quite a leap” it means there's some scepticism about the relationship one thing and another (often cause & effect). 

Jaguar's Leaper

Leaper on 1960 Jaguar Mark 2.

The “Leaper” was the factory’s name for the leaping feline figure which for decades adorned the space atop or behind the grill on many Jaguars.  These embellishments were originally mere functional devices because they were literally the external radiator caps so the most important part of the design was that easily they could be unscrewed to allow coolant to be added.  Inevitably, the possibilities occurred to stylists (as such designers used to be called) and the once modest radiator cap became miniature (though many were anything but small) works of art to covey the image the manufacturer wished.  Jaguar’s founder, Sir William Lyons (1901–1985), had a eye for style and was appalled at some of the after-market ornaments being sold to some of the buyers of his SS (Standard Swallow) Jaguars in the pre-war years so commissioned his own, the company legend being there was an amateur sculptor on the staff who got the job.  Beginning in 1938, this became the Jaguar standard and it adorned the cars until 1951 although it didn’t appear on the XK120 which caused such a sensation at the 1948 London Motor Show, apparently because that car was such a flourish of modernity the inclination was to abandon such antiquated relics.  So, when the Jaguar Mark V was retired in 1951, so was the leaper.

The Jaguar leaper had teeth which sounds ominous for pedestrians but some of the hood emblems looked more lethal still.  Left to right (top row): Buick, Packard & Pierce-Arrow; (centre row): Rolls-Royce, Bentley & Mercury; (bottom row): Duesenberg, Mercedes-Benz & Nash.

Whether nostalgia overtook the factory or there was popular demand seems not to have been recorded but in 1955 the leaper leapt back onto the Jaguar saloons (though not the sports cars) and it was sleeker still, the back legs now outstretched and because radiators were now hidden behind grills, the leaper was fixed to the bonnet (hood) and this shape would be used until 1969, offered even as an option on the XK150.  A smaller version was fashioned for the long, low & wide Mark X in 1961 and it was in use until 1970 when the 420G was retired.  That seemed to be the end of the line for the leaper because one wasn’t included when the new XJ range was released in 1968.

Leaper on a US market 1999 Jaguar Vanden Plas (X308).  The US market Vanden Plas were the only Jaguars on which the leaper was used in conjunction with the fluted grill fitted to the home market (and some RoW (rest of the world)) Daimlers.  Because it was Mercedes-Benz and not Jaguar which held the US rights to the Daimler brand, Daimlers sold in the US were badged as Jaguar Vanden Plas although they were otherwise identical to Daimlers including the fluted fittings.  The supercharged Daimler Vanden Plas was the most exclusive of the X308s and was noted for details such as the rear picnic tables being crafted from solid burl walnut timber rather than the veneer over plastic used on cheaper models.

However, while Jaguar’s designers were convinced, the buyers were not and the leaper remained a popular after-market fitting on both the XJs (where it looked OK because of the car’s resemblance to the earlier generations) and the XJ-S (where frankly, it looked absurd).  Notably, demand for the return of the leaper was strong in the US and in response, the factory relented and a “safe” version was developed to please the safety-conscious American regulators, using a spring-loaded mechanism similar to the one Mercedes-Benz used for its three-pointed star, a variation later perfected to conform with European legislation governing “the external projections of motor vehicles”.  The end for the leaper finally came in 2005 although the profile lives on in a boot (trunk) badge used on modern Jaguars (including the ones which look like big Hyundais).