Butterfly

Butterfly (pronounced buht-er-flahy)

(1) Any of numerous diurnal insects of the order Lepidoptera, characterized by clubbed antennae, a slender body, and large, broad, often conspicuously marked wings which are typically closed when the creature is at rest (the adjectival form is lepidopteran).

(2) A person who moves effortlessly from one social situation to another, usually as “social butterfly”.

(3) Someone perceived as unserious and (originally) dressed gaudily; someone flighty and unreliable; a bolter (common between the seventeenth & nineteenth centuries; now archaic).

(4) In competitive swimming, a racing breaststroke, using a dolphin kick, in which the swimmer brings both arms out of the water in forward, circular motions.

(5) In carpentry, as butterfly joint (or wedge), a type of joint or inlay used permanently to hold together two or more pieces of timber, either as something aesthetic (usually with a contrasting color of timber) or merely functional (also known as the bow tie, dovetail key, Dutchman joint, or Nakashima joint).

(6) In sculpture, an X-shaped support attached to an armature.

(7) As butterfly arm, the swinging brackets of a butterfly table.

(8) In film editing, a screen of scrim, gauze, or similar material, for diffusing light.

(9) In cooking or the display of food, to spread open in halves what is being prepared, resembling the wings of a butterfly (the chef’s term being butterflied).

(10) In financial trading, the simultaneous purchase and sale of traded call options, at different exercise prices or with different expiry dates, on a stock exchange or commodity market; historically a combination of four options of the same type at three strike prices giving limited profit and limited risk.

(11) In medical & surgical dressings, a prepared bandage or the use of surgical tape, cut into thin strips and placed across an open wound in a manner which resembles the open wings of a butterfly, holding it closed.

(12) In mathematics and geometry, any of several plane curves that look like a butterfly and known as butterfly curves (transcendental & algebraic).

(13) In chaos theory and the discipline of alternate (counter-factual) history, as butterfly effect, a single event or random change in an aspect of the timeline seemingly unrelated to the primary point of divergence, resulting from the event.

(14) In automotive design (also used on certain airframes and nautical vessels) a style of door hinged from the A pillars (the windscreen frame).

(15) In engineering, a term applied to a number of fittings (butterfly valve, butterfly clamp, butterfly nut) with some resemblance to the open wings of a butterfly.

(16) As a motif, a widely use shape in fields such as architecture, stained glass, visual art and industrial design.

Pre 1000: From the Middle English buterflie, butturflye & boterflye, from the Old English butorflēoge, buttorflēoge & buterflēoge.  It was cognate with the Dutch botervlieg and the German Butterfliege (butterfly).  The construct was (with variations was butere (butter) +‎ fly.  Etymologists note alternative origins for the name.  Either (1) it was first applied to creatures with wings of a notably yellowish hue (perhaps the dominant or single species of the type in an area) or (2) as a response to the belief that butterflies ate milk and butter or (3) the first element may have originally been butor- (beater), a mutation of bēatan (to beat), a reference to the movement of the wings.  The idea of the fragile things as thieves of milk and butter is supported by similar instances in other European languages including the German Molkendieb (butterfly (literally “whey thief”) and the Low German Botterlicker (butterfly (literally butter-licker) & Bottervögel (butterfly (literally “butter-fowl”).  There was also the notion they excreted a butter-like substance, memorably expressed in the Dutch boterschijte (butterfly (literally “butter-shitter”).  Most memorable however is the explanation in the tales of the Brothers Grimm (die Brüder Grimm, Jacob (1785–1863) and Wilhelm (1786–1859)) in which witches disguised themselves as butterflies.  The early forms in Middle English superseded the non-native Middle English papilion (butterfly) borrowed from the Old French.  Butterfly is a noun & adjective, butterflied is a verb & adjective and butterflying is a verb.  The noun plural is butterflies.

Anatomy of the butterfly valve (left), butterfly crochet (centre) & butterfly bandage (right).

Butter was from the Middle English buter & butter, from the Old English butere, from the Proto-West Germanic buterā, from the Latin būtȳrum, from the Ancient Greek βούτῡρον (boútūron) (cow cheese), the construct being βοῦς (boûs) (ox, cow) + τῡρός (tūrós) (cheese).  Fly was from the Middle English flye & flie, from the Old English flȳġe & fleoge (a fly, a winged insect), from the Proto-Germanic fleugǭ (a fly) & fleugon (flying insect), from the primitive Indo-European plewk- (to fly).  It was cognate with the Scots flee, the Saterland Frisian Fljooge, the German Low German Fleeg, the Danish flue, Norwegian Bokmål flue & Norwegian Nynorsk fluge, the Swedish fluga and the Icelandic fluga, the Old Saxon fleiga, the Old Norse fluga, the Middle Dutch vlieghe, the Dutch vlieg, the Old High German flioga and the German Fliege (fly (literally "the flying (insect))).  The Old English fleogende (flying) was from the primitive Indo-European root pleu- (to flow).

Social butterfly Lindsay Lohan in butterfly print swimsuit, Cannes, 2016.

Butterfly was applied first to people circa 1600, originally in reference to vain and gaudy attire, an allusion to often bright and varied colors of a butterfly's wings.  By 1806 it had become a class-based put-down referencing a transformation from a lower social class to something better, invoking the idea of progression from sluggish caterpillar to graceful butterfly (essentially a synonym for bounder).  The reference to flitting tendencies (from one interest, occupation etc) dates from 1873 and the social butterfly (one who moves effortlessly between social encounters and events) emerged in the 1920s.  The swimming stroke was first defined in 1935.  As a general descriptor (butterfly agave, butterfly ballot, butterfly fish, butterfly flower, butterfly plant, butterfly bomb, butterfly keyboard, butterfly chair, butterfly ray, butterfly shell et al), it’s applied wherever the resemblance to the open wings appears compelling.  In culture, the butterfly tends to be more admired than caterpillar which is an earlier stage of their development, the lovely creatures often appearing on fabrics used for clothing and furnishings.

Native to the forests of Central and South America, the Blue Morpho is one of the world’s largest butterflies. The wings are bright blue with lacy black edges, the result of light reflecting off microscopic scales on the back of their wings.  Lovely though the blue appears, it’s often not seen because the underside of this butterfly’s wing is a dull brown which provides a camouflage against predators.  When the wings are closed as the Blue Morpho sits on a tree, it blends in well.

Highly qualified content provider Busty Buffy (b 1996) being adorned with body paint in the shape of a butterfly with open wings.

Butterfly valves came into use in the late 1700s and have been popular since for their ease of manufacture, simplicity of operation and low maintenance.  The butterfly nut appeared in 1869 although in some markets it usually called the wing nut; interestingly, the similar fastener with a male thread is known as a wing screw or wing bolt but apparently never a butterfly screw or bolt, presumably because the delicate butterfly is thought emblematically female.  The phrase “Who breaks a butterfly upon a wheel?” is from Alexander Pope's (1688-1744) Epistle to Dr Arbuthnot" (1735).  The allusion is to "breaking on the wheel", a form of torture in which victims had their long bones broken by an iron bar while tied to a Catherine wheel, the idea a critique of excessive effort or deployment of resources to solve a simple problem; the less confronting phrase “sledgehammer to crack a nut” means the same thing.  The phrase “butterflies in the stomach” is a descriptive reference to the mild stomach spasms induced by anxiety and dates from 1908.  The butterfly effect is the most celebrated idea from (the somewhat misleadingly named) chaos theory, introduced in the 1972 paper Predictability: Does the Flap of a Butterfly's Wings in Brazil Set Off a Tornado in Texas? by US academic meteorologist Edward Lorenz (1917–2008).  Lorenz had developed the theory based on his observations in the early 1960s (in one of the earliest big-data models) that a tiny change in one variable (one of a dozen numbers representing atmospheric conditions) had an extraordinary effect upon long-term outcomes.

1966 Dodge Polara convertible (left) and 1966 Dodge Monaco 500 two-door hardtop (right).

The use of the butterfly motif in industrial design in 1967 became a footnote in legal history in the trial of the boxers Rubin "Hurricane" Carter (1937–2014) & John Artis (1946-2021) for a triple murder committed at the Lafayette Bar and Grill in Paterson, New Jersey.  Evidence presented by the prosecution claimed that witness descriptions of the getaway car matched the hired car Carter was found driving in the vicinity of the Lafayette immediately after the killings, their statements even including a mention of the distinctive butterfly-shaped taillight chrome.  However, although a witness said the rear lights lit up across the back of the getaway car, the taillights on Carter's Dodge Polara, although there was certainly a butterfly chrome surround, lit up only at the edges; it was the more expensive Dodge Monaco which had the extended lights.  In the ever changing swirl of model names and trim levels which characterized the US industry during its golden age (1955-1973), in 1966 the Polara was Dodge’s entry-level full-size model, above which sat the higher-priced Polara 500, Monaco, and Monaco 500.  For some reason (and this was not unusual), the lineup’s nomenclature in Canada differed, being Polara, Polara 440, Polara 880, and Monaco.  In both markets however, it was only the Monaco which featured the extended tail lamps.

1966 Dodge Polara convertible (left) and 1966 Dodge Monaco two-door hardtop (right).

On a dark night, glimpsed by a traumatized witness for a second or two, that may have not been significant because tests did reveal the reflective silver finish on the Polara’s rear panel did indeed appear red at certain angles when the brake lights were activated but the distinction, along with a witness’s correction of this in the 1976 re-trial did lead some to suggest the police might have been coaching witnesses; “hardening the statement” in law enforcement lingo.  That actually aligned with the evidence provided by another witness and the prosecution would later suggest later suggested the confusion was caused by the defense misreading the court transcript.

Maria Callas (1923-1977), backstage after appearing as Madam Butterfly, Civic Opera House, Chicago, 17 November 1955.  Had Cio-Cio-San been this feisty, she'd have kept Pinkerton. 

Bud Daley’s famous AP (Associated Press) photograph of diva Maria Callas, still in her Cio-Cio-San’s kimono, caught her snarling at US Federal Marshal Stanley Pringle, one of eight process servers there to serve her with two summonses.  The image was shot just after she'd left the stage, following her third and final performance in Giacomo Puccini's (1858–1924) Madama Butterfly (Madam Butterfly, 1904) and appeared the next morning on the front page of the Chicago Sun-Times with the headline: “Not So Prim a Donna”.  The article reported her words as: “Chicago will hear about this!  I will not be sued!  I have the voice of an angel!  No man can sue me.”  It transpired however at least one man could sue, the action brought by one Edward “Eddy” Bagarozy, who claimed to be the singer’s agent, an assertion based on a contract dating from 1947; the plaintiff sought (1) specific performance of the contract and (2) in the alternative, damages of US$300,000 (depending on the metrics chosen, equivalent to between US$4-6 million in 2025).  As in many such matters, ultimately, things were settled out of court.

2002 Ferrari Enzo (left) & 2016 Ferrari LaFerrari (right).

Butterfly doors are used on some high-performance cars and not wholly as a gimmick, the advantage being that in such usually low-slung vehicle, they do make entry and exit somewhat easier than scissor doors.  There’s even more functionally on certain competition cars because (1) they allow the carefully-crafted aerodynamics of the canopy to be preserved, (2) the driver can enter and leave the cockpit more quickly and (3) the design allows the structural integrity of the shell to be maximized.  Butterfly doors open upwards and outwards and in that they differ from scissor doors which are hinged to move only upwards, thus offering the possibility of a greater aperture while demanding more lateral clearance.  Exotic doors were seen in a handful of pre-war cars, none of which reached production, but it was the Mercedes-Benz 300SL (W194) race-car of 1952 which brought to public attention the idea car doors could be something different.  Such was the response that the factory used the gull-wing doors when, in 1954, the 300SL (W198) was offered in a road-going version although the engineering, like the concept, was not new, having before been used in both marine architecture and aircraft fuselages.  Similarly, the design elements which underlie butterfly and scissor doors can be found in buildings and machinery dating back in some cases centuries but of late, all have come most to be associated with exotic cars.

1967 Alfa Romeo 33 Stradale

Variations on the theme had appeared on the show circuit for some time before butterfly doors debuted on the Alfa Romeo 33 Stradale in 1967 which was much admired but it was thought the complexity of such things would limit their use to low volume runs such as the Stradale (of which only 18 were built) or one-off styling exercises such as the Alfa Romeo Carabo (1968) which used scissors.  However, scissor doors appeared on the prototype Lamborghini Countach (LP500) and, despite the doubts of some, were retained when the production version was released in 1974.  Since then, gull-wings (which open upward on a horizontal axis, hinged from the roof), scissors (which open upwards, rotating on a horizontal axis, hinged from the front), butterflies (which open upwards and outwards on an axis unaligned to the vertical or horizontal, hinged from the A (windscreen) pillar and dihedrals (scissors which move laterally while rotating ) have become common (relatively speaking) and designers seem intent on adding some new twist which seem sometimes to add no advantage but usually attract publicity (admittedly an advantage in the abstract), the most complex to date being the dihedral synchro helix doors which open forward, slide forward and rotate up.

Mercedes-Benz McLaren SLR Coupé & Roadster (top) and McLaren MP4-12C Coupé & Spider (bottom).

When Mercedes-Benz released the SLR McLaren (2003-2009), in an attempt to make explicit the link with the 300SL, they laid it on with a trowel, the phrase “gullwing doors” appearing in the factory’s original press release no less than seven times, just in case people didn’t get the message.  Nobody was fooled and they’ve always been called butterflies.  One clever piece of engineering was seen when the SLR roadster was released, those butterfly doors made possible by using hinge points along the rather than at the top.  McLaren used a variation of this idea when it released the McLaren MP4-12C (2011-2014), omitting the top hinge which allowed the use of frameless windows even on the roadster (spider).

IBM's 1995 ThinkPad 701.

IBM's ThinkPad 701 series was available during 1995 and was that year's biggest seller in its class, its distinctive feature the "butterfly" keyboard, a design in response to the obviously contradictory demands that laptops be smaller and lighter while still equipped with keyboards big enough comfortably to be used (especially with the big, clumsy fingers of men).  The 701 was marketed in what was then an untypically IBM manner, newspaper advertisements in the run-up to the launch published with nothing but a butterfly in the corner, the IBM logo later added while a few days before the debut, the text "Watch for the announcement" appeared.  Butterfly had actually been the project's internal codename although it had never been intended for use as a product, apparently because IBM's corporate policies didn't permit the use of the names of living.  Still, the use in the teaser advertisements did suggest they planned it to catch on as a nickname and doubtlessly hoped for a better outcome than the last time a codename was picked-up, the unfortunate "peanut" (the PCjr (1984-1985)) not fondly remembered.

IBM Thinkpad 701 commercial, 1995.

IBM's 1995 ThinkPad 701.

The 701 series was well-received and butterfly keyboard much admired.  By 1995, although it was clear to most of the industry that OS/2 (IBM's pre-emptive, multi-tasking operating system (OS)) was unlikely to achieve critical mass in either the consumer or corporate markets but the company continued to try to nudge things along: While the 701s using Intel’s i486 DX2 50/25 MHz CPU (central processing unit) came pre-installed with a combo PC-DOS 6.3 OS & Microsoft Windows 3.11 (Windows for Workgroups) operating environment, those using the i486 DX4 75/25 MHz chip offered the option of a dual-boot so users could choose either the combo or IBM’s OS/2 Warp (3.0).  The main body of the keyboard was a two-piece construction, which, gear-driven by the movement of the lid, spread apart to become a single unit as the laptop was opened, the process reversed as the lid closed.  IBM actually called it the TrackWrite, but it was universally known as the butterfly and so compelling was the design that to this day, one is on permanent display in Manhattan's Museum of Modern Art (MoMA).  Popular though it was, the market moved and the place on the demand curve at a price point which interested IBM was for laptops with larger screens so the need for the butterfly technology vanished, the 701 remaining unique.  Some patents have recently been filed which suggest manufacturers may be planning to release another laptop with a butterfly keyboard but, in an age of ultra-thin devices, it will presumably be a thing of low-tactility and thus lacking the responsiveness which had been one of the most attractive features of the original.

Thirty years after: 2025 Lenovo ThinkPad X1 Carbon Gen 13 (Lenovo part number 21NSCTO1WWAU8).

Although thinner and with many advances internally, at first glance a 2025 Lenovo ThinkPad appears little different from a 1955 (non-butterfly) IBM original.  Like the shark and pencil, the basic laptop design seems to have attained its evolutionary perfection.  Among the features carried over from IBM was the "TrackPoint" (the small, red pointing device in the centre of the keyboard), used to control the on-screen pointer.  IBM made a number of variants of the red rubber cap (“Classic Dome”, “Soft Dome”, “Soft Rim” and (most memorably) “Eraser Head”) but (male) programmers tended to call it “the clit”. 

A descendent of IBM ThinkPad, the original IBM PC-1 (August 1981) was the MRCA (most recent common ancestor) of both and, even now, a few ancient traits remain identifiable.  In 2005, IBM exited the PC (personal computer) and laptop business, selling the lines to Chinese manufacturer Lenovo, including as a transitional arrangement the right to use the IBM brand on the hardware for five years, the last so labelled thus made in 2010.  However, because the ThinkPad and ThinkCentre trademarks were part of the IP (intellectual property) Lenovo acquired, these continue to appear.  The deal in 2005 meant that IBM, which in 1981 had triggered the PC revolution with the release in August of the original PC-1, was no longer a part (although it continued to be active in software and server production) of the industry which (unintentionally) it had played such a part in creating and which transformed the modern world.  Nothing lasts forever.   

Duet

Duet (pronounced doo-et or dyoo-et (non-U))

(1) In music, a composition for two voices or instruments.

(2) An action or activity performed by a pair of closely connected individuals.

(3) A pair or couple, especially one that is harmonious or elegant.

1730–1740: From the Italian duet (a short musical composition for two voices), from duo (two) and a diminutive of the earlier duett & duetto, the construct being du(o) (duet) + -etto (from the Late Latin -ittum, accusative singular of –ittus, an alternative suffix used to form melioratives, diminutives, and hypocoristics).  The ultimate source was the Proto-Italic duō, from the primitive Indo-European dwóh.  The French adopted duet before the English in 1740 although the noun may have been used in English from circa 1724; as a verb (to perform a duet), use was first noted in 1822.  The technical form duettino (short, unpretentious duet) emerged by 1839.  Duet is a noun & verb, duetting & duetted are verbs and duettist is a noun; the noun plural is duets.

Madam Butterfly

One of opera’s most memorable duets is the long and rapturous love aria in Giacomo Puccini's (1858–1924) Madama Butterfly (1905).  Among the most performed works in the canon, a number are available on disc, the most radiant surely Herbert von Karajan's (1908–1989) 1974 recording for Decca (Decca 417 577-2DH3).  The lustre of the cast Karajan assembled to perform with the Vienna Philharmonic Orchestra and State Opera Chorus has not since been matched; with Mirella Freni (1935-2020) as Butterfly, Luciano Pavarotti (1935–2007) as Pinkerton and Christa Ludwig (1928–2021) as Suzuki, expectations were high but Karajan conducted a lush, high-drama which disappointed few.  Freni was of course a standout but Pavarotti, though not yet the superstar he would soon become, was at his peak and took to the role in a way that influences tenors to this day; Ludwig’s Suzuki remains unsurpassed in its style and by then, Karajan had been forgiven for everything.

Although Maria Callas (1923-1977) seemed even then an improbable Butterfly, her 1955 appearance at La Scala (Warner B00NMQTE4C) must have been extraordinary but, because of the mono technology of the age and some unsympathetic cutting, the recording can only hint at the power and passion of what critics at the time hailed a classic performance; Callas at her brilliant best, diction of cut crystal.  She may never have been the most refined of sopranos but she brought to her roles a thrilling intensity; just as other singers have delivered a more technically accomplished Lucia di Lammermoor, it’s the Callas version all remember because it was spine-chilling and her Butterfly is similarly unique.

Maria Callas (1923-1977), backstage after appearing as Madam Butterfly, Civic Opera House, Chicago, 17 November 1955.  Had Cio-Cio-San been this feisty, she'd have kept Pinkerton. 

Bud Daley’s famous AP (Associated Press) photograph of diva Maria Callas, still in her Cio-Cio-San’s kimono, caught her snarling at US Federal Marshal Stanley Pringle, one of eight process servers there to serve her with two summonses.  The image was shot just after she'd left the stage, following her third and final performance in Giacomo Puccini's (1858–1924) Madama Butterfly (Madam Butterfly, 1904) and appeared the next morning on the front page of the Chicago Sun-Times with the headline: “Not So Prim a Donna”.  The article reported her words as: “Chicago will hear about this!  I will not be sued!  I have the voice of an angel!  No man can sue me.”  It transpired however at least one man could sue, the action brought by one Edward “Eddy” Bagarozy, who claimed to be the singer’s agent, an assertion based on a contract dating from 1947; the plaintiff sought (1) specific performance of the contract and (2) in the alternative, damages of US$300,000 (depending on the metrics chosen, equivalent to between US$4-6 million in 2025).  As in many such matters, ultimately, things were settled out of court.

1969 Alfa Romeo Spider Veloce 1750 with coda lunga (round tail).

Although The Alfa Romeo (type 105/115) Spider was continuous production between 1966-1993, it was only during the first three years the bodywork featured the memorable Osso di Seppia (round-tail, literally “cuttlefish”) coachwork.  After 1970, the Spider gained a Kamm tail which increased luggage capacity and presumably also conferred some aerodynamic advantage but purists have always coveted the cigar-shaped original.  One often misunderstood aspect of the Kamm tail is that the aerodynamic benefits are realized only if the flat, vertical surface created was no more than about 50% of the total area of the vehicle (as viewed directly from the back).  That’s why even designs which don’t conform to the requirements are often casually referred to as “Kamm tails”.

Two famous reality TV stars performing a "long and rapturous" love duet in a 2016 production.

The Kamm tail (also known as the Kammback) was named after German engineer & aerodynamicist Professor Wunibald Kamm (1893–1966) who during the 1930s pioneered the shape, his work assisted greatly by some chicanery within the Nazi military-industrial complex which enabled the FKFA (Forschungsinstituts für Kraftfahrwesen und Fahrzeugmotoren Stuttgart (Research Institute of Automotive Engineering and Vehicle Engines Stuttgart) institute he established in 1930s to secure funding to construct a full-sized wind tunnel equipped with a two-part steel treadmill in the floor and an 8.8 metre (350 inch) diameter axial fan, able to drive air at up to 400 km/h (250 mph).  What the two concentric floor turntables allowed was that as well as enabling turbulence to be studied from the side on the running steel belt, but slip angles were also possible.   At the time, it was the most modern structure of its kind on the planet and its very existence was owed to the priority afforded by the Nazis to re-armament, especially the development of modern airframes, most of the money eventually coming from the Reichs-Luftfahrt-Ministerium (RLM, the State Air Ministry).

1969 Alfa Romeo Spider Veloce 1750 with coda lunga (round tail).

While Professor’s Kamm’s work on automobile shapes continued, increasingly the facility became focused on military contracts, contributing to the extraordinary range of novel aircraft designs, some revolutionary and most of which would never reach production.  All of this ceased in July 1944 when the facility was severely damaged in air-raids by Royal Air Force (RAF) Bomber Command, a costly campaign which one mission incurred a loss-ration of 20% and it wasn’t until the late 1940s that reconstruction began after it was acquired by Daimler-Benz AG which enlarged and modernized the machinery, the early fruits including the 300 SL (the W194, first gullwing coupé) which won the 1952 Le Mans 24 hour race and the W196R “streamliner” Grand Prix race cars which created such a sensation in 1954.  Although he wasn’t part of “Operation Paperclip” (the US project which secured (by various means including the military “smuggling” them into the country despite many being wanted by those investigating war crimes and crimes against humanity) Professor Kann was acknowledged as one of the world’s leading authorities on turbulence and between 1947-1953 was part of the team working at Wright-Patterson Air Force Base in Dayton, Ohio.  Some of what was undertaken then remains classified but it can be assumed it was all related to military projects and what would later become the space program.

Alfa Romeo in 1965 conducted a competition to find a suitable name for the little roadster and in those days that meant running advertisements in newspapers (which people actually paid for and read) to which readers responded by cutting out and filling in the coupon, writing in their suggestion, putting it in an envelope on which they wrote the address, buying and affixing a stamp and putting envelope in mailbox.  The winning entry was "Duetto" which Alfa Romeo's directors liked because it summed up the romantic essence of a machine definitely built for a couple.  Unfortunately, for some tiresome legal reason relating to an existing trademark, it couldn't officially be used but for decades, among the cognoscenti, it's always been called the Duetto.

Track of the Kamm, Alfa Romeo Spiders: 1973 Series 2 (1970-1983, left), 1984 (Series 3 (1983-1990, centre) and 1992 Series 4 (1990-1993, right).  Things got worse before they got better. 

To keep the tiresome lawyers at bay, when released at the Geneva Motor Show in March 1966, the car was known as the Spider 1600, the advertising making clear it was intended to be a practical sports car, usable year-round rather than something intended for competition.  Among those who like to call them Duettos, there’s a sub-set of pedants who like to point out that while all Duettos are round-tails, not all round-tails are Duettos because in 1967, Alfa Romeo introduced the more powerful 1750 Spider Veloce and the less potent 1300 Junior, the former positioned a notch above the original, the latter one below.  That’s too nerdy for most who prefer to form factions based upon the tail treatment and surprisingly perhaps, many do seem to prefer the appearance of the abbreviated Kamm-tail and, again surprisingly, that included even the editors of the US magazine Road & Track (R&T), a publication in the 1960s inclined to see anything Italian through a rose-tint, called the coda lunga (round tail) “a contrived design with meaningless styling gimmicks.”  Probably much of the appeal of the original is as a period piece in the same way the exaggerated fins on the early Sunbeam Alpines have some period charm although few would claim their pruning didn’t improve the look.

Lindsay Lohan duetting: On stage with Duran Duran (left) and spinning the vinyl with former special friend, DJ Samantha Ronson.

Newmanesque

Newmanesque (pronounced new-min-esk)

The feelings of wonderment, awe, fear and enchantment induced in one when looking to the stars.

1860: From the writings of Cardinal Saint John Henry Newman (1801-1890), the construct being Newman + esque.  The -esque suffix was from the French -esque (-ish, -ic, -esque), from the Italian -esco, from the Latin -iscus, of Germanic origin, from the Lombardic -isc (-ish), from the Proto-West Germanic -isk, from the Proto-Germanic -iskaz (-ish), from the primitive Indo-European -iskos.  It was cognate with the Old High German -isc (from which German gained -isch), the Old English –isċ, the Old Norse –iskr and the Gothic -isks.   It was appended to nouns (particularly proper nouns) to form adjectives in the sense of (1) resembling or tending towards and (2) in the style or manner of.  English picked up the suffix directly as –ish; the -esque suffix technically means a stronger association than -ish or -ite but is often anyway preferred for literary effect.   

Cardinal Saint John Henry Newman (1801-1890).

John Henry Newman was a poet and theologian, first an evangelical Anglican priest (albeit one gradually assuming a higher ecclesiastical tone) who later, despite having once described the Roman church as "…polytheistic, degrading and idolatrous" became a Roman Catholic cardinal.  This appears to have happened because Newman the younger became haunted by the fourth century words of Saint Augustine of Hippo (354–430), Securus judicat orbis terrarum!, usually translated by scholars as “the verdict of the world is conclusive” and by theologians as “wherefore the entire world judges out of security, they are not good who separate themselves from the entire world, in whatever part of the entire world”.

To structuralists, it means “it is good to keep the sinners in our midst if this is the way we may convert them”.  Newman dwelt on this for some time, an indication it’s not good for impressionable souls to read Augustine, Emily Brontë (1818–1848) or Friedrich Nietzsche (1844–1900) at too young an age.  Among the laity, Newman is most remembered for what’s called the newmanesque or the newmanist: the sense of awe wonderment even atheists might feel when gazing at the heavens.  In July 2019, Pope Francis (b 1936; pope since 2013) announced at a Consistory of Cardinals (a formal meeting of the College of Cardinals which a pope can convene at any time and known within the Vatican as “a conspiracy of cardinals”) that Newman would be created a saint and his canonisation was formally announced on 13 October, thus becoming the first English saint since the seventeenth century.  It’s a long process: Newman was proclaimed "Venerable" by the Congregation for the Causes of Saints in 1991 and was beatified in 2010.  Canonisation was the final step.

The Newmanesque; some get it and some don't: Lindsay Lohan (left) and Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011) (right).

The Newmanesque: Look back in awe

Hubble Space Telescope Image NGC 6302 (butterfly nebula), 27 July 2009.

Image NGC 6302, commonly called the butterfly nebula, was taken by the Hubble telescope on 27 July 2009.  Something of a celestial Rorschach test card, cosmic reality belies the delicate appearance of this butterfly, those fragile-looking wings actually boiling cauldrons of gas, swirling at some 36,000^o F (20,000^o C) and travelling through space at 600,000 mph (960,000 km/h), fast enough to travel between earth and the moon in little more than twenty minutes.  The butterfly is in our Milky Way galaxy, some 3800 light-years distant in the constellation of Scorpius, the glowing gas the star’s outer layers, expelled over two millennia, the wingspan more than two light-years across.

At the centre lies a dying star once five times the mass of the Sun but, with its envelope of gases ejected, it’s now unleashing the stream of ultraviolet radiation that gives the cast-off material its glow.  The central star can’t be seen because of the surrounding thick belt of dust which constricts its outflow, creating the classic “bipolar” or hourglass shape shared with many planetary nebulae.  The data from Hubble do however allow scientists to construct a picture with the surface temperature estimated to be over 400,000^o F (220,000^o C), making it one of the Milky Way’s hotter stars.  Before losing the extended outer layers, the star had evolved into a red giant, with a diameter a thousand times that of the Sun, some of the cast-off gas creating the doughnut-shaped ring while other gas was ejected perpendicular to the ring at higher speeds, producing the butterfly’s elongated wings.  Later, as the star heated, a faster stellar wind (a stream of charged particles), ploughed through the structure, again modifying the shape.

Viceroy

Viceroy (pronounced vahys-roi)

(1) A person appointed to rule a country or province as the deputy of the sovereign and exercising the powers of the sovereign.

(2) A brightly marked American butterfly (Limenitis archippus), closely mimicking the monarch butterfly in coloration but slightly smaller, hence the analogy with a sovereign and their representative.

1515–1525: From the Middle French, the construct being vice- + roy.  Vice was from the Old French vice (deputy), from the Latin vice (in place of), an ablative form of vicis.  In English (and other languages) the vice prefix was used to indicate an office in a subordinate position including air vice-marshal, vice-admiral, vice-captain, vice-chair, vice-chairman, vice-chancellor, vice-consul, vice-director, vice president, vice-president, vice-regent & vice-principal.  Roy was from the Middle English roy & roye, from the Old French roi (king), from the Latin rēgem, accusative of rēx (king) and related to regere (to keep straight, guide, lead, rule), from the primitive Indo-European root reg- (move in a straight line) with derivatives meaning “to direct in a straight line" thus the notion of "to lead, rule".  It was a doublet of loa, rajah, Rex, rex and rich.  The noun plurals was roys.  The wife of a viceroy was a vicereine, the word also used for female viceroys of whom there have been a few.  The American butterfly was named in 1881.  Viceroy and viceroy are nouns and viceregal is a noun and adjective; the noun plural is viceroys.

The noun viceregent (the official administrative deputy of a regent) attracted the attention of critics because it was so frequently confused with vicegerent (the official administrative deputy of a ruler, head of state, or church official).  Despite the perceived grandiosity of vicegerent, gained from association with offices such as the Pope as Vicar of Christ on Earth or the regent of a sovereign state, it’s merely generally descriptive of one person substituting for another and can be as well-applied to the shop assistant minding the store while the grocer has lunch.  The area of regency can be a linguistic tangle because a regent is a particular kind of viceregent and there was a time when viceregent was used instead of the correct vicegerent and was sometimes used pleonastically for regent.  The grammar Nazis never liked this and attributed the frequency of occurrence to the preference of viceregal rather than vicereoyal as the adjective of viceroy.

Under the Raj, under the pith helmets: King George V, Emperor of India with Lord Hardinge, Viceroy of India, Government House, Calcutta 1911.

In the rather haphazard way British rule in India evolved, the office of Governor-General of India was created by the Charter Act of 1833 and in an early example of the public-private partnership (PPP), the post was essentially administrative and was both appointed by and reported to the directors of the East India Company, functioning also as an informal conduit between the company and government.  The system lasted until 1858 when, in reaction to the Indian Mutiny (1857), the parliament passed the Government of India Act, creating the role of Viceroy (wholly assuming the office of Governor General), the new office having both executive and diplomatic authority and reporting (through the newly-established India Office) to the British Crown.  The viceroy was appointed by the sovereign on the advice of the parliament (ie the prime-minister) and it is this structure which is remembered as the British Raj (from the Hindi rāj (state, nation, empire, realm etc), the rule of the British Crown on the subcontinent although the maps of empire which covered the whole region as pink to indicate control were at least a bit misleading.

Viceroy butterfly.

The best-known viceroys were probably those who headed the executive government of India under the Raj although other less conspicuous appointments were also made including to Ireland when the whole island was a constituent part of United Kingdom of Great Britain and Ireland (1801-1922).  As a general principle (and there were exceptions), in British constitutional law, the Dominions and colonies that were held in the name of the parliament of Great Britain were administered by Governors-General while colonies held in the name of the British Crown were governed by viceroys.  Between 1858-1947, there were twenty viceroys of India including some notable names in British politics such as Lord Lansdowne (1888–1894) who introduced the Indian Councils Act and raised the age of consent for girls from ten to twelve, Lord Curzon (1899–1905) who introduced the Indian Universities Act and presided over the partition of Bengal, Lord Hardinge (1910-1916) who was in office during the Mesopotamian Campaign, Lord Irwin (1926–1931) (better known as Lord Halifax) who summoned the first round table conference and Lord Mountbatten (1947), the last Viceroy of India who, reflecting the change in constitutional status upon independence, was between 1947-1948 briefly the new nation's first Governor-General.  He was also the second-last, the office abolished in 1950 when the Republic of India was proclaimed.

Lindsay Lohan’s NFT for Lullaby with viceroy butterflies.

In 2021, it was announced Lindsay Lohan's non-fungible token (NFT) electronic music single Lullaby had sold for 1,000,001 in Tron (TRX) cryptocurrency (US$85,484.09).   Lullaby featured a vocal track over a beat produced by Manuel Riva and was the first NFT by a woman to be sold on #fansForever, a marketplace created for dealing in celebrity NFTs.  The graphics of the NFT Tron had a viceroy butterfly flapping its wings in unison with Ms Lohan’s eyelids to the beat of Lullaby.  Because of the underlying robustness, the blockchain and the NFT concept has an assured future for many purposes but to date the performance of celebrity items as stores of value has been patchy.

1936 Rolls-Royce Phantom III (7.7 litre (447 cubic inch) V12; chassis 3AZ47, engine Z24B, body 8594 in style 6419) by Hooper, built for the Marquess of Linlithgow (1887-1952) who served as Viceroy of India (1936-1944), seen in its original configuration with a chauffeur (left) and as re-bodied during 1952-1953 (right).  In the centre is a British plumed helmet, circa 1920, this one with a skull in gilt metal, mounted with unusually elaborate gilt ornamentation including helmet-plate (itself mounted with a white metal hobnail star bearing gilt Royal Arms), ornate gilt chins-scales with claw ends and an untypically extravagant white swan's feather plume, notably longer than regulation length.  It was used by the Honourable Corps of Gentlemen-at Arms, a body formed in 1539 and staffed by former army officers as the “nearest guard” to the sovereign. The helmet is based on the “Albert” pattern for Household Cavalry, a style in use for some 150 years.

Viceroys of India were always rather exalted creatures, their status reflecting India’s allure as the glittering prize of the empire and upon recall to London, were usually raised to (or in) the peerage as marquesses while a retiring prime-minister might expect at most an earldom, one notch down.  Their special needs (and some were quite needy) in office also had to be accommodated, an example of which is Lord Linlithgow’s 1937 Rolls-Royce Phantom III, built with a capacity for seven passengers (although no luggage which was always carried separately).  The coachwork by Hooper was most unusual, the engine’s side-panels being 1½ inches taller than standard, a variation required to somewhat balance the very tall passenger compartment, the dimensions of which were dictated by the viceroy’s height of 6’ 7” (2.0 m), the plumed hats of his role elongating things further.  Such high-roof-lines were not uncommon on state limousines and have been seen on Mercedes-Benz built for the Holy See and the Daimlers & Rolls-Royces in the British Royal Mews.  Delivered in dark blue with orange picking out lines and coronets on the rear doors, the interior was trimmed in dark blue leather with two sets of loose beige covers, the woodwork in solid figured walnut rather than veneer.  Signed-off 21 July 1936 and shipped to Bombay (now Mubai) on the SS Bhutan on 24 July, Hooper’s invoice to the India Office listed the price of the chassis at Stg£1405, the coachwork at Stg£725 and a total cost of Stg£2130.

After the Raj, the car passed into private hands and in 1952 was returned to the Hooper works in Westminster for re-modeling, the most obvious aspects of which were the lowering of the roof-line and a re-finishing in grey.  The high cowl (scuttle) and hood (bonnet) line were however retained so the re-configuration actually replaced one discontinuity with another but the changes certainly made it an interesting period piece and its now one of three Phantom IIIs in the collection assembled by Pranlal Bhogilal (1937-2011), displayed in his Auto World Vintage Car Museum in Kathwada, on the outskirts of Ahmedabad.