Tsar

Tsar (pronounced zahr)

(1) An emperor or king.

(2) Title of the former emperors of Russia and several Slavonic states.

(3) Slang term for an autocratic ruler or leader.

(4) Slang term for a person exercising great authority or power in a particular field.

1545-1555: From the Old Russian tsĭsarĭ (emperor or king), akin to the Old Church Slavonic tsěsarĭ, the Gothic kaisar and the Greek kaîsar, all ultimately derived from the Latin Caesar (an emperor, a ruler, a dictator) while the Germanic form of the word was the source of the Finnish keisari and the Estonian keisar.  The prehistoric Slavic was tsesar, Tsar first adopted as an imperial title by Ivan IV (Ivan Vasilyevich, 1530–1584 and better remembered as Ivan the Terrible, Grand Prince of Moscow and all Russia 1533-1584 & Tsar of all Russia 1547-1584) in 1547.  There’s a curious history to spelling tsar as czar.  Spelled thus, it’s contrary to the usage of all Slavonic languages; the word was so spelt by the Carniolan diplomat & historian Baron Siegmund Freiherr von Herberstein (1486–1566) in his work (in Latin) Rerum Moscoviticarum Commentarii (Notes on Muscovite Affairs (1549)) which was such a seminal early source of knowledge of Russia in Western Europe that "czar" passed into the Western languages; despite that history, "tsar" definitely is the proper Latinization.  It still appears and some linguistic academics insist the lineage means it should be regarded as archaic use rather than a mistake and, as a fine technical point, that’s correct in that, for example, the female form czarina is from 1717 (from Italian czarina and German zarin).  In Russian, the female form is tsaritsa and a tsar’s son is a tsarevitch, his daughter a tsarevna.

Nicholas II (Nikolai II Alexandrovich Romanov, 1868–1918; last Tsar of Russia, 1894-1917).  He cut an imposing figure for the portraitists but his cousin Kaiser Wilhelm II (1859–1941; German Emperor & King of Prussia 1888-1918) reckoned the tsar's mental abilities rendered him most suitable to "a cottage in the country where he can grow turnips".  Wilhelm got much wrong in his life but historians seem generally to concur in this he was a fair judge of things.

Tsar and its variants were the official titles of (1) the First Bulgarian Empire 913–1018, (2) the Second Bulgarian Empire (1185–1396), (3) the Serbian Empire (1346–1371), (4) the Tsardom of Russia (1547–1721) (technically replaced in 1721 by imperator, but remaining in use outside Russia (also officially in relation to certain regions until 1917) and (5) the Tsardom of Bulgaria (1908–1946).  So, although most associated with Russia, the first ruler to adopt the title was Simeon I (usually written as Simeon the Great; circa 865-927, ruler of Bulgaria 893-927) and that was about halfway through his reign and nobody since Simeon II (Simeon Borisov Saxe-Coburg-Gotha, b 1937; (last) Tsar of the Kingdom of Bulgaria 1943-1946) has been a tsar.  The transferred sense of "person with dictatorial powers" seems first to have appeared in English in 1866 as an adoption in American English, initially as a disapproving reference to President Andrew Johnson (1808–1875; US President 1865-1869) but it has come to be applied neutrally (health tsar, transport tsar) and use does sometimes demand deconstruction: drug tsar has been applied both to organised crime figures associated with the distribution of narcotics and government appointees responsible for policing the trade.  In some countries, some overlap between the two roles has been noted.

Comrade Stalin agitprop.

Volgograd, the southern Russian city was between 1925-1961 named Stalingrad (Stalin + -grad).  Grad (град in Cyrillic) was from the Old Slavic and translates variously as "town, city, castle or fortified settlement"; it once existed in many languages as gord and can be found still as grad, gradić, horod or gorod in many place-names.  Before it was renamed in honour of comrade Stalin (1878-1953, leader of the USSR 1924-1953), between 1589-1925, the city, at the confluence of the Tsaritsa and Volga rivers was known as Tsaritsyn, the name from the Turkic-related Tatar dialect word sarisin meaning "yellow water" or "yellow river" but because of the similarity in sound and spelling, came in Russia to be associated with Tsar.  Stalingrad is remembered as the scene of the epic and savage battle which culminated in the destruction in February 1943 of the German Sixth Army, something which, along with the strategic failure of the Wehrmacht in the offensive (Unternehmen Zitadelle (Operation Citadel) in the Kursk salient five months later, marked what many military historians record as the decisive moment on the Eastern Front.  It has become common to refer to comrade Stalin as the "Red Tsar" whereas casual comparisons of Mr Putin (Vladimir Vladimirovich Putin; b 1952; president or prime minister of Russia since 1999) don't often reach to Russia's imperial past; they seem to stop with Stalin.

Caesar (an emperor, a ruler, a dictator) was from the late fourteenth century cesar (from Cæsar) and was originally a surname of the Julian gens in Rome, elevated to a title after Caius Julius Caesar (100-44 BC) became dictator and it was used as a title of emperors down to Hadrian (76–138; Roman emperor 117-138).  The name ultimately is of uncertain origin, Pliny the Elder (23–79) suggested it came from the Latin caesaries (head of hair) because the future dictator was born with a lush growth while others have linked it to the Latin caesius (bluish-gray), an allusion to eye color.  The "probity of Caesar's" wife (the phrase first recorded in English in the 1570s) as the figure of a person who should be above suspicion comes from the biography of Julius Caesar written by the Greek Middle Platonist priest-philosopher & historian Plutarch (circa 46–circa 123).  Plutarch related the story of how Julius Caesar divorced his wife Pompeia because of rumors of infidelity, not because he believed the tales of her adultery but because, as a political position, “the wife of Caesar must not even be under suspicion”.  That’s the origin of the phrase “the probity of Caesar’s wife, a phrase which first appeared in English in the 1570s.

In late nineteenth century US slang, a sheriff was "the great seizer" an allusion to the office's role in seizing property pursuant to court order.  The use of Caesar to illustrate the distinction between a subject’s obligations to matters temporal and spiritual is from the New Testament: Matthew 22:21.

They say unto him, Caesar's. Then saith he unto them, Render therefore unto Caesar the things which are Caesar's; and unto God the things that are God's.

Christ had been answering a question posed by the Pharisees to trap Him: Is it lawful to pay taxes to Caesar (Matthew 22:15–20)?  To answer, Jesus held up a denarius, the coin with which pay the tax and noted that on it was the head of Caesar, by then Caesar had become a title, meaning emperor of Rome and its empire.  It was a clever answer; in saying "render unto Caesar that which is Caesar's and render unto God that which is God's", Jesus dismisses the notion of believers being conflicted by the demands of the secular state as a false dilemma because, one can fulfil the requirements of the sate by a mere payment of coin without any implication of accepting its doctrines or legitimacy.  Over the years much has been made of what is or should be "rendered unto Caesar", but more interesting is inference which must be drawn: if we owe Caesar that which bears his image, what then do we owe God?  It can only be that we owe God that which bears the image of God, an impressive inventory listed in the book of Genesis and now interpreted by some Christians as "the whole universe".  To Caesar we can only ever owe money; to God we owe ourselves.

In the Old English the spelling was casere, which would under the expected etymological process have evolved into coser, but instead, circa 1200, it was replaced in the Middle English by keiser, from the Norse or Low German, and later by the French or Latin form of the name.  Cæsar also is the root of German Kaiser, the Russian tsar and is linked with the Modern Persian shah.  Despite the common assumption, "caesar" wasn’t an influence on the English "king".  King was from the Middle English king & kyng, from the Old English cyng & cyning (king), from the Proto-West Germanic kuning, from the Proto-Germanic kuningaz & unungaz (king), kin being the root.  It was cognate with the Scots keeng (king), the North Frisian köning (king), the West Frisian kening (king), the Dutch koning (king), the Low German Koning & Köning (king), the German König (king), the Danish konge (king), the Norwegian konge (king), the Swedish konung & kung (king), the Icelandic konungur & kóngur (king), the Finnish kuningas (king) and the Russian князь (knjaz) (prince) & княги́ня (knjagínja) (princess).  It eclipsed the non-native Middle English roy (king) and the Early Modern English roy, borrowed from Old French roi, rei & rai (king).

The Persian Shah was from the Old Persian xšāyaθiya (king), once thought a borrowing from the Median as it was compared to the Avestan xšaϑra- (power; command), corresponding to the Sanskrit (the Old Indic) kṣatra- (power; command), source of kṣatriya (warrior).  However, recent etymological research has confirmed xšāyaθiya was a genuine, inherited Persian formation meaning “pertaining to reigning, ruling”.  The word, with the origin suffix -iya was from a deverbal abstract noun xšāy-aθa- (rule, ruling) (Herrschaft), from the Old Persian verb xšāy- (to rule, reign).  In the Old Persian, the full title of the Achaemenid rulers of the First Empire was Xšāyaθiya Xšāyaθiyānām (or in Modern Persian, Šāhe Šāhān (King of Kings)), best as "Emperor", a title with ancient, Near Eastern and Mesopotamian precedents.  The earliest known instance of such a title dates from the Middle Assyrian period as šar šarrāni, used by the Assyrian ruler Tukulti-Ninurta I (1243–1207 BC).

Tsar Bomba: the Tsar bomb

Tupolev Tu-95 in flight (left) and a depiction of the October 1961 test detonation of the Tsar Bomb.

Царь-бомба (Tsar Bomba (Tsar-bomb)) was the Western nickname for the Soviet RDS-220 hydrogen bomb (Project code: AN602; code name Ivan or Vanya), the most powerful nuclear weapon ever detonated.  The test on 30 October 1961 remains the biggest man-made explosion in history and was rated with a yield of 50-51 megatons although the design was technically able to produce maximum yield in excess of 100.  For a long time the US estimated the yield at 54 megatons and the Russians at 58 but after the fall of the Soviet Union in 1991, it was confirmed the true yield was 50-51 megatons.  Only one was ever built and it was detonated on an island off the Russian arctic coast.  The decision to limit the size blast was related to the need to ensure (1) a reduced nuclear fall-out and (2) the aircraft dropping the thing would be able to travel a safe distance from the blast radius (the Kremlin's attitude to the lives of military personnel had changed since comrade Stalin's time).  No nuclear power has since expressed any interest in building weapons even as large as the Tsar Bomb and for decades the trend in strategic arsenals has been more and smaller weapons, a decision taken on the pragmatic military grounds that it's pointless to destroy things many times over.  It's true that higher yield nuclear weapons would produce "smaller rubble" but to the practical military mind such a result represents just "wasted effort".

Progress 1945-1961.

The Tupolev Tu-95 (NATO reporting name: Bear) which dropped the Tsar Bomb was a curious fork in aviation history, noted also for its longevity.  A four-engined turboprop-powered strategic bomber and missile platform, it entered service in 1956 and is expected still to be in operational use in 2040, an expectation the United States Air Force (USAF) share for their big strategic bomber, the Boeing B-52 which first flew in 1952, the first squadrons formed three years later.  Both airframes have proven remarkably durable and amenable to upgrades; as heavy lift devices and delivery systems they could be improved upon with a clean-sheet design but the relatively small advantages gained would not justify the immense cost, thus the ongoing upgrade programmes.  The TU-95's design was, inter-alia, notable for being one of the few propeller-driven aircraft with swept wings and is the only one ever to enter large-scale production.  It's also very loud, the tips of those counter-rotating propellers sometimes passing through the sound barrier.

Footage of the Tsar Bomb test de-classified and released after the dissolution of the Soviet Union (1922-1991).

The Tsar Bomb was in a sense the “ultimate” evolution of the centuries long history of the bomb although it wasn’t the end of innovation, designers seemingly never running out of ideas to refine the concept of the device, the purpose of which is to (1) blow stuff up and (2) kill people.  Bomb was from the French bombe, from the Italian bomba, from the Latin bombus (a booming sound), from the Ancient Greek βόμβος (bómbos) (booming, humming, buzzing), the explosive imitative of the sound itself.  Bomb was used originally of “projectiles; mortar shells etc”, the more familiar “explosive device placed by hand or dropped from airplane” said by many sources to date from 1908 although the word was in the former sense used when describing the anarchist terrorism of the late nineteenth century.  As a footnote, the nickname of Hugh Trenchard (1873-1956), the first Marshal of the Royal Air Force (RAF) was “boom” but this was related to his tone of voice rather than an acknowledgement of him being one of the earliest advocates of strategic bombing.

The figurative uses were wide, ranging from “a dilapidated car” (often as “old bomb”, the use based presumably on the perception such vehicles are often loud).  The bombshell was originally literally a piece of military equipment but it was later co-opted (most memorably as “blonde bombshell) to describe a particularly fetching young women.  So, used figuratively, “bomb” could mean either “very bad” or “very good” and in his weekly Letter from American (broadcast by the BBC World Service 1946-2004), Alistair Cooke (1908–2004) noted a curious trans-Atlantic dichotomy.  In the world of showbiz, Cooke observed, “bomb” was used in both the US & UK to describe the reaction to a play, movie or whatever but in the US, if called “a bomb”, the production was a flop, a failure whereas in the UK, if something was called “quite a bomb”, it meant it was a great success.

I Know Who Killed Me (2007)

I Know Who Killed Me bombed (in the traditional US sense) but in the way these things sometimes happen, the film has since enjoyed a second life with a cult-following and screenings on the specialized festival circuit.  Additionally, DVD & Blu-Ray sales (it's said to be a popular, if sometimes ironic, gift) meant eventually it generated a profit although it has never exactly become a "bomb" (in the UK sense).  However, while it now enjoys a following among a small sub-set of the public, the professional critics have never softened their view.

Euphemism

Euphemism (pronounced yoo-fuh-miz-uhm)

(1) An agreeable or inoffensive word or phrase substituted for one potentially offensive, harsh or blunt, used often when referring to taboo, controversial or distasteful matters.

(2) The expression so substituted.

1656: From the Greek εὐφημισμός (euphēmismós) (use of a favorable word in place of an inauspicious one, superstitious avoidance of words of ill-omen during religious ceremonies), from εὐφημίζω (euphēmízō), from εὔφημος (eúphēmos & euphemizein (speak with fair words, use words of good omen).  Despite the impression conveyed by disapproving historians like Arnold Toynbee (1889-1975) the Romans, like all the cultures of antiquity, used euphemisms but it does seem true the Athenians were the most delicate of all, so careful to avoid ill-omened words they called their prison “the chamber” and the executioner “the public man” and the Furies (Erinyes) they called “Eumenides” (the kindly ones or the Venerable Goddesses).

The construct was εὖ (eû) (good; well) + φήμη (phḗmē) (a voice, a prophetic voice, rumor, talk) + -ismos (-ism).  The Greek phēmē was from φάναι (phánai) (to speak, say), from the primitive Indo-European root pha (to speak, tell, say).  The concept was well-known in Hellenic culture, the Ancient Greek aristeros (the better one) a euphemism for "the left (hand)".  In English, it was originally a rhetorical term, the broader sense of "choosing a less distasteful word or phrase than the one meant" is attested from 1793 and was in common use by the 1830s.  The most common derived form, the adverb euphemistically, dates from 1833.  The –ism suffix was from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  Euphemism & euphemist are nouns, euphemistic & euphemistical are adjectives and euphemistically is an adverb; the noun plural is euphemisms.

The surviving defendants in the dock, International Military Tribunal, Nuremberg, 1945-1946.

Euphemisms are used to substitute an inoffensive word or phrase for one thought too offensive or hurtful, especially when the topic being discussed is concerned with religion, sex, death, or excreta.  Euphemisms are also used to disguise intent; the Nazi’s “Final Solution” was actually a programme of mass-murder or genocide as it would come to be called.  Even after the enormity of that became apparent during the first of the Nuremberg trials, one of the indicted Nazis attempted to find a euphemism for the euphemism, arguing it was somehow a substantive point that the English translation of Endlösung der Judenfrage as ”Final Solution to the Jewish Question” was misleading and the German should be rendered as “Total Solution to the Jewish Question”.  Like just about everyone else, in the circumstances, the judges failed to see any distinction.  It wasn’t the only euphemism the Nazis adopted: The phrase Sonderbehandlung (special treatment) refers to the ways and means of mass-murder and the transportation of victims to their places where they would be murdered was officially "re-settlement in the east".  Casually too, there was much that was euphemistic in the Third Reich.  After the failed assassination attempt on Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) in July 1944, Dr Joseph Goebbels (1897-1975; Nazi propaganda minister 1933-1945) managed finally to persuade the Führer things were bad and the time had come to convert the German economy to totaler Krieg (total war).  To his office staff, laconically he remarked: "It takes a bomb under his arse to make Hitler see reason" while the same sentiment euphemistically was noted in his diary in the phrase that the brush with death had "...produced clarity in his decisions."

Noted Euphemisms

Tired and emotional: The Rt Hon Sir John Kerr AK, GCMG, GCVO, QC (1914–1991; Governor-General of Australia 1974-1977), Melbourne Cup, November 1977.

To "put to sleep" actually means to euthanize and death generally attracts many: "passed away", "bought the farm", "kicked the bucket", "departed", "lost", "gone", "pushing up daisies", "resting in peace", "met untimely demise", "meet their maker", "going to a better place", "six feet under", "sleeping with the fishes" & "eternal slumber".  Sex is also well covered including "friends with benefits", "roll in the hay" & "sleep with"; related forms being "bun in the oven" (pregnancy), "lady of the night" (prostitute), "affair" (adultery) & "long-time companion" (homosexual partner).  Rather than drunk, one might say "tired and emotional", "gave it a bit of a nudge" or "had one too many".  Politics provides a few, often words which describing lying without actually admitting it including "terminological inexactitudes", "economical with the truth" & that specialty of crooked Hillary Clinton: "misspeak".  Lindsay Lohan's lifestyle choices provided editors with some scope for the euphemistic, the terms applied to her including "controversial actress" or "troubled" (train-wreck), "tired & emotional" (affected by too much strong drink), "special friend" or "friendship" (a bit lesbionic) & "dehydrated" (affected by the use of unspecified substances).    Regarding urination, defecation and bodily functions in general, there are probably more euphemisms even than those covering death.

Students learning English are taught about euphemisms and the vital part they play in social interaction.  They are of course a feature of many languages but in English some of these sanitizations must seem mysterious and lacking any obvious connection with what is being referenced.  There are also exams and students may be asked both to provide a definition of “euphemism” and an example of use and a good instance of the latter is what to do when a situation really can be described only as “a clusterfuck” or even “a fucking clusterfuck” but circumstances demand a more “polite” word.  So, students might follow the lead of Australian Federal Court Judge Michael Lee (b 1965) in Lehrmann v Network TenPty Limited [2024] FCA 369 who in his 420 page judgment declared the matter declared “an omnishambles”. The construct of that was the Latin omni(s) (all) + shambles, from the Middle English schamels (plural of schamel), from the Old English sċeamol & sċamul (bench, stool), from the Proto-West Germanic skamul & skamil (stool, bench), from the Vulgar Latin scamellum, from the Classical Latin scamillum (little bench, ridge), from scamnum (bench, ridge, breadth of a field).  In English, shambles enjoyed a number of meanings including “a scene of great disorder or ruin”, “a cluttered or disorganized mess”, “a. scene of bloodshed, carnage or devastation” or (most evocatively), “a slaughterhouse”.  As one read the judgement one could see what the judge was drawn to the word although, in the quiet of his chambers, he may have been thinking “clusterfuck”.  Helpfully, one of the Murdoch press’s legal commentators, The Australian’s Janet Albrechtsen (b 1966; by Barry Goldwater out of Ayn Rand) who had been one of the journalists most attentive to the case, told the word nerds (1) omnishambles dated from 2009 when it was coined for the BBC political satire The Thick Of It and (2) endured well enough to be named the Oxford English Dictionary’s (OED) 2021 Word of the Year.  The linguistic flourish was a hint of things to come in what was one of the more readable recent judgments.  If a student cites “omnishambles” as a euphemism for “clusterfuck”, a high mark is just about guaranteed.

Defenestration

Defenestration (pronounced dee-fen-uh-strey-shuhn)

(1) The act of throwing a person out of a window.

(2) In casual, often humorous use, to throw anything out of a window.

(3) A sardonic term in the business of politics which refers to an act which deposes a leader).

(4) In nerd humor, the act of removing the Microsoft Windows operating system from a computer in order to install an alternative.

1618: From New Latin dēfenestrātiō, the construct being dē (from; out) + fenestra (window) + -atio (the suffix indicating an action or process).  It was borrowed also by the Middle French défenestrer (which persists in Modern French) & défenestration.  The German form is Fenstersturz; the verb defenestrate formed later.  The related forms are defenestrate (1915) & defenestrated (1620).  Derived terms (which seem only ever used sardonically) include autodefenestration (the act of hurling oneself from a window), dedefenestration (the act of hurling someone back through the window from which recently they were defenestrationed and redefenestration (hurling someone from a window for a second time, possibly just after their dedefenestration).  Use of these coinings is obviously limited.

The de- prefix was from the Latin dē-, from the preposition dē (of; from)  It was used in the sense of “reversal, undoing, removing”; the similar prefix in Old English was æf-.  The –ation suffix is from the Middle English –acioun & -acion, from the Old French acion & -ation, from the Latin -ātiō, an alternative form of -tiō (from which Modern English gained -tion).  It was used variously to create the forms describing (1) an action or process, (2) the result of an action or process or (3) a state or quality.  Fenestra is of unknown origin.  Some etymologists link fenestra with the Greek verb phainein (to show) while others suggest an Etruscan borrowing, based on the suffix -(s)tra, as in the Latin loan-words aplustre (the carved stern of a ship with its ornaments), genista (the plant broom) or lanista (trainer of gladiators).  Fenestration dates from 1870 in the anatomical sense, a noun of action from the Latin fenestrare, from fenestra (window, opening for light).  The now rare but once familiar meaning "arrangement of windows" dates from 1846 and described a certain design element in architecture.  The related form is fenestrated.

Second Defenestration of Prague (circa 1618), woodcut by Matthäus Merian der Ältere (1593–1650).

Although it was already known in the Middle French, defenestrate entered English to lament (or celebrate, depending on one’s view of such things) the Defenestration of Prague in 1618, when Two Roman Catholic regents of Ferdinand II, representing the Holy Roman Emperor in the Bohemian national assembly, were tossed from a third floor window of Hradshin Castle by Protestant radicals who accused them of suppressing their rights.  All three survived, landing either in a moat or rubbish heap defending on one’s choice of history book and thus began the Thirty Years’ War.  The artist called his painting the "Second Defenestration" because he was one of the school which attaches no significance to the 1438 event most historians now regard as the second of three.

The defenestration of 1618 that triggered the Thirty Years’ War wasn’t the first, indeed it was at the time said it had been done in "…good Bohemian style" by those who recalled earlier defenestrations, although, in fairness, the practice wasn’t exclusively Bohemian, noted in the Bible and not uncommon in Medieval and early modern times, lynching and mob violence a cross-cultural political language for centuries.  The first governmental defenestration occurred in 1419, second in 1483 and the third in 1618, although the term "Defenestration of Prague" is applied exclusively to the last.  The first and last are remembered because they trigged long wars of religion in Bohemia and beyond, the Hussite Wars (1419-1435) associated with the first and the Thirty Years’ War (1618-1648) with the Third.  The neglected second ushered in the religious peace of Kutná Hora which lasted decades, clearly not something to remember.  The 1618 event is the third defenestration of Prague).

The word has become popular as a vivid descriptor of political back-stabbing and is best understood sequentially, the churn-rate of recent Australian prime-ministers a good example: (1) Julia Gillard (b 1961) defenestrated Kevin Rudd (b 1957), (2) Kevin Rudd defenestrated Julia Gillard, (3) Malcolm Turnbull (b 1954) defenestrated Tony Abbott (b 1957), (4) Peter Dutton (b 1970) defenestrated Malcolm Turnbull (although that didn’t work out quite as planned, Mr Dutton turning out to be the hapless proxy for Scott Morrison (b 1968)).  Given the recent history it's surprising no one has bother to coin the adjective defenestrative to describe Australian politics although given it's likely there are more defenestrations will be to come, that may yet happen.  Mr Dutton has never denied being a Freemason.

Some great moments in defenestration

King John of England (1166-1216) killed his nephew, Arthur of Brittany (1187-1203), by defenestration from the castle at Rouen, France, in 1203 (the method contested though not the death).

In 1378, the crafts and their leader Wouter van der Leyden occupied the Leuven city hall and seized the Leuven government.  In an attempt to regain absolute control, they had Wouter van der Leyden assassinated in Brussels. Seeking revenge, the crafts handed over the patrician to a furious crowd. The crowd stormed the city hall and threw the patricians out of the window. At least 15 patricians were killed during this defenestration of Leuven.

In 1383, Bishop Dom Martinho (1485-1547) was defenestrated by the citizens of Lisbon, having been suspected of conspiring with the enemy when Lisbon was besieged by the Castilians.

In 1419 Hussite mob defenestrates a judge, the burgomaster, and some thirteen members of the town council of New Town of Prague. (First defenestration of Prague).

Death of Jezebel (1866) by Gustave Doré (1832–1883).

In the Bible, Jezebel was defenestrated at Jezreel by her own servants at the urging of Jehu. (2 Kings 9:33).  Jezabel is used today to as one of the many ways to heap opprobrium upon women although it now suggests loose virtue, rather than the heresy or doctrinal sloppiness mentioned in the Bible.

Jezebel encouraged the worship of Baal and Asherah, as well as purging the prophets of Yahweh from Israel.  This so damaged the house of Omride that the dynasty fell.  Ever since, the Jews have damned Jezabel as power-hungry, violent and whorish.  However, she was one of the few women of power in the Bible and there is something of a scriptural dislike of powerful women, an influence which seems still to linger among the secular.

In the Book of Revelation (2:20-23), Jezebel's name is linked with false prophets:

20 Nevertheless, I have this against you: You tolerate that woman Jezebel, who calls herself a prophet. By her teaching she misleads my servants into sexual immorality and the eating of food sacrificed to idols.

21 I have given her time to repent of her immorality, but she is unwilling.

22 So I will cast her on a bed of suffering, and I will make those who commit adultery with her suffer intensely, unless they repent of her ways.

23 I will strike her children dead. Then all the churches will know that I am he who searches hearts and minds, and I will repay each of you according to your deeds.

Lorenzo de' Medici (circa 1534) by Giorgio Vasari (1511-1574).

On 26 April 1478, after the failure of the "Pazzi conspiracy" to murder the ruler of Florence, Lorenzo di Piero de' Medici (Lorenzo the Magnificent 1449–1492), Jacopo de' Pazzi (1423-1478) was defenestrated.  In 1483, Prague's Old-Town portreeve and the bodies of seven murdered New-Town aldermen were defenestrated.  (Second defenestration of Prague).  On 16 May 1562, Adham Khan (1531-1652), The Mughal emperor Akbar the Great’s (1542-1605) general and foster brother, was defenestrated (twice!) for murdering a rival general, Ataga Khan (d 1562).  Akbar was woken up in the tumult after the murder. He struck Adham Khan down personally with his fist and immediately ordered his defenestration by royal order. The first time, his legs were broken but he remained alive.  Akbar ordered his defenestration a second time, killing him. Adham Khan had wrongly counted on the influence of his mother and Akbar's wet nurse, Maham Anga (d 1562) to save him as she was almost an unofficial regent in the days of Akbar's youth.  Akbar personally informed Maham Anga of her son's death, to which, famously, she commented, “You have done well”.  After forty days and forty nights, she died of acute depression.  On the morning of 1 December 1640, in Lisbon, a group of supporters of the Duke of Braganza party found Miguel de Vasconcelos (1590-1640), the hated Portuguese Secretary of State of the Habsburg Philip III (1605-1665), hidden in a closet, killed and defenestrated him.  His corpse was left to the public outrage.  On 11 June 1903, a group of Serbian army officers murdered and defenestrated King Alexander (1876-1903) and Queen Draga (1866-1903).

Poster of Benito Mussolini (1883-1946, Duce of Italy, 1922-1943), Ethiopia, 1936.

In 1922, Italian politician and writer Gabriele d'Annunzio (1863-1938) was temporarily crippled after falling from a window, possibly pushed by a follower of Benito Mussolini.  The Duce might almost have been grateful had he suffered the illustrious fate of defenestration, the end of not a few kings and princes.   Instead, Italian communist partisans found him hiding in the back of a truck with his mistress Clara Petacci (1912-1945), attempting to flee to neutral Switzerland.  Taken to a village near Lake Como, on 28 April 1945, both were summarily executed by firing squad, their bodies hung upside down outside a petrol station where the corpses were abused by the mob.  When Hitler saw the photographs, he quickly summoned Otto Günsche (1917–2003), his personal SS adjutant, repeating his instruction that nothing must remain of him after his suicide.

On 10 March 10 1948, the Czechoslovakian minister of foreign affairs Jan Masaryk (1886-1948) was found dead, in his pajamas, in the courtyard of the Foreign Ministry below his bathroom window. The initial (KGB) investigation stated that he committed suicide by jumping out of the window.  A 2004 police investigation concluded that he was defenestrated by the KGB.  In 1968, the son of China's future paramount leader Deng Xiaoping (2004-1997), Deng Pufang (b 1944), was thrown from a window by Red Guards during the Cultural Revolution.  In 1977, as a result of political backlash against his album Zombie, musician Fela Kuti's (1938-1997) mother (Chief Funmilayo Ransome-Kuti, 1900-1978) was thrown from a window during a military raid on his compound.  In addition, the commanding officer defecated on her head, while the soldiers burned down the compound, destroying his musical equipment, studio and master tapes.  Adding insult to injury, they later jailed him for being a subversive.  On 2 March 2007, Russian investigative journalist Ivan Safronov (1956-2007), who was researching the Kremlin's covert arms deals, fell to his death from a fifth floor window.  There was an investigation and the death was ruled to be suicide, a cause of death which of late has become uncommonly common in Russia, people these days often falling from windows high above the ground.

Dominion Centre, Toronto.

On 9 July 1993, in a case of self-defenestration, Toronto attorney Garry Hoy (1955-1993) fell from a window after a playful attempt to prove to a group of new legal interns that the windows of Toronto’s Dominion Centre were unbreakable.  The glass sustained the manufacturer’s claim but, intact, popped out of the frame, the unfortunate lawyer plunging to his death.  Mr Hoy actually also held an engineering degree and is said to have many times performed the amusing stunt.  Unfortunately he didn’t live to explain to the interns how the accumulation of stresses from his many impacts may have contributed to the structural failure.

Adultery

Adultery (pronounced uh-duhl-tuh-ree)

Voluntary sexual intimacy between a married person and someone other than his or her lawful spouse.

1325-1375: From the Middle English adulterie, from the Classical Latin adulterium (voluntary violation of the marriage bed).  Adulterie replaced an earlier Middle English form advouterie, drawn from the Old French avoutrie.  So, construct was: adulterie, altered (as if directly from Latin adulterium) from avoutrie, via Old French from Latin adulterium, from adulter, back formation from adulterāre.  Modern spelling, with the re-inserted -d, is from early fifteenth century.  Interestingly, in Middle English, word also applied even to "sex between husband and wife for recreational purposes”, sex for other than procreation being regarded by the church as idolatry, perversion and heresy.  The church variously classified the sin as single adultery (with an unmarried person) and double adultery (with a married person).  In Old English the word was æwbryce (breach of lawful marriage), drawn from the German Ehebruch.  As one might imagine, the tradition of adultery goes way back and so does the condemnation by clerics and others; it is of course proscribed by one of the Ten Commandments (coming in usually at 6 or 7 in most translations) in the Christian Bible and the ever zealous Leviticus (at 20:10) spelled out the consequences: If there is a man who commits adultery with another man's wife, one who commits adultery with his friend's wife, the adulterer and the adulteress shall surely be put to death.

In the US, Adultery Dune in Arizona corresponds to the Navajo sei adilehe (adultery sand), the place where, prior to European settlement, illicit lovers met.  It’s apparently something between Hampstead Heath and Death Valley as depicted in Michelangelo Antonioni’s (1912-2007) Zabriskie Point (1970).  Everyone should see Zabriskie Point before they die.

Double Adultery: Cheryl Kernot & Gareth Evans.

Although adultery can be a difficult, complicated business, two avoid things ending badly, there are really two options.  One is not to commit adultery because, in the words of  English author, Arthur Hugh Clough (1819-1861), "advantage rarely comes of it."  Option two is not to get caught but there is a long list of politicians who made the greatest mistake of all: getting caught.  Although adultery seemed once almost obligatory (and once also tolerated) for French politicians great and humble, in the English-speaking world, it's always a scandal.  Of late, we’ve had the helpfully named Anthony Weiner (b 1964), Bill Clinton (b 1946; US president 1993-2001) who had only himself to blame and Sir John Major (b 1943; UK prime-minister 1990-1997) who really must be admired; an affair with Edwina Currie (b 1946) hardly being safe-sex.  Jim Cairns (1914–2003) perjured himself while lying about his affair and John Profumo (1915–2006) committed adultery with Christine Keeler (1942–2017) while she was enjoying another adulterous affair with a Russian spy.  While leader of the opposition, Ben Chifley (1885–1951; prime minister of Australia 1945 to 1949) told the prime-minister he was going home to read a detective story, dying that night in the company of his mistress; men wept at the news of his death.  John Kennedy's (JFK, 1917–1963; US president 1961-1963) adultery was (within the beltway), famous even at the time and David Lloyd George (1863–1945; UK prime-minister 1916-1922) blatantly took his mistress to the Paris Peace Conference in 1919; one author claimed even the long-assumed faithful Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) may have strayed.  Doing his bit, Gareth Evans (b 1944; Australian Labor Party (ALP) senator or MP 1978-1999, sometime attorney-general & foreign minister) had an affair with then Democrats leader Cheryl Kernot (b 1948) who subsequently rated on them and joined the ALP although whether that was because or in spite of Gareth’s adulterous caresses has never been clear.

End of the line for Sir Billy Snedden.

Most illustrious are those said to have died on the job, expiring usually in hotel rooms following heart-attacks or strokes.  The list includes the 70 year old Nelson Rockefeller (1908-1979; US vice-president 1974-1977) who was with a 25 year old aide and the 76 year old Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) who was in the company of an admirer of 37.  Lord Palmerston (1784-1865; variously UK prime-minister or foreign secretary on several occasions 1830-1865) is rumoured to have died on a billiard table with a housemaid and Pope John XII (circa 933–964; pope 955-964) is said to have died in circumstances not dissimilar.  Famously, Sir Billy Snedden (1926–1987), at 61, breathed his last in a Travelodge at Sydney's Rushcutter’s Bay with a somewhat younger woman who was his son’s ex-girlfriend, an event recorded by what was perhaps the Melbourne Truth's most memorable front page.  Remarkably, despite decades of speculation, her identity has never publicly been confirmed.

Former Australian Country Party leader Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022).

Mr Joyce joined a long line of adulterous politicians who made the greatest mistake of all: getting caught.  He's pictured here escorting wife to the parliament's mid-winter ball (left) and casting his mistress an admiring glance (right).  The whip he carried was thought a photo-opportunity prop, an allusion to his role as a rural member of the house of representatives rather than an indication of any proclivities.

Authentic

Authentic (pronounced aw-then-tik)

(1) Something not false or copied; genuine; real.

(2) Having an origin supported by unquestionable evidence; authenticated; verified: with certified provenance.

(3) Representing one’s true nature or beliefs; true to oneself or to the person identified.

(4) Entitled to acceptance or belief because of agreement with known facts or experience; reliable; trustworthy.

(5) In law, executed with all due formalities; conforming to process.

(6) In music (of a church mode and most often applied to the Gregorian chant), having a range extending from the final to the octave above.

(7) In music (of a cadence), progressing from a dominant to a tonic chord.

(8) In musical performance, using period instruments and historically researched scores and playing techniques in an attempt to perform a piece as it would have been played at the time it was written (or in certain cases, first performed).

(9) Authoritative; definitive (obsolete).

1300–1350: From the Middle English authentik & autentik (authoritative, duly authorized (a sense now obsolete)), from the Old French autentique (authentic; canonical (from which thirteenth century Modern French gained authentique)), from the Late Latin authenticus (the work of the author, genuine ( which when used as a neuter noun also meant “an original document, the original”), from the Ancient Greek αὐθεντικός (authentikós) (original, primary, at first hand), the construct being αὐθέντης (authéntēs) (lord, master; perpetrator (literally, “one who does things oneself; one who acts independently (the construct being aut(o-) (self-) + -hentēs (doer)) + -ikos (–ic) (the adjective suffix)), from the primitive Indo-European root sene- (to accomplish, to achieve).  The alternative spellings authentical, authentick, authenticke & authentique are all archaic.  Authentic is an adjective (and a non-standard noun), authentically is an adverb, authenticity & authentification are nouns, authenticate, authenticating & authenticated are verbs; the most common noun plural is authentifications.

The modern sense of something “real, entitled to acceptance as factual” emerged in the mid-fourteenth century and synonyms (depending on context) include true, veritable, genuine, real, bonafide, bona fide, unfaked, reliable, trustworthy, credible & unfaked.  As antonyms (the choice of which will be dictated by context and sentence structure) the derived adjectives include: non-authentic, inauthentic & unauthentic (the three usually synonymous but nuances can be constructed depending on the context) and the curious quasi-authentic, used presumably to suggest degrees of fakeness, sincerity etc).  Inauthentic from 1783 is the most often used and thus presumably the preferred form and in this it competes also with phony, fake, faux, bogus, imitation, clone, impersonation, impression, mimic, parody, reflection, replica, tribute, reproduction, apery, copy, counterfeit, ditto, dupe, duplicate, ersatz, forgery, image, likeness, match, mime, mimesis, mockery, parallel, resemblance, ringer, semblance, sham, simulacrum, simulation, emulation, takeoff, ripoff, transcription, travesty, Xerox, aping, carbon copy, echo, match, mirror, knockoff, paraphrasing, parroting, patterning, representation & replica & the rare ingenuine.  The verb authenticate (verify, establish the credibility of) dates from the 1650s and was from the Medieval Latin authenticatus, the past participle of authenticare, from the Late Latin authenticus; the form of use in the mid seventeenth century was sometimes “render authentic”.  The noun authenticity (the quality of being authentic, or entitled; acceptance as to being true or correct) dates from the 1760 and replaced the earlier authentity (1650s) & authenticness (1620s).

Beware of the inauthentic: The authentic Lindsay Lohan (left) and the Grand Theft Auto's (GTA 5) ersatz (right), a mere "generic young woman".

Concurring with the 2016 ruling of the New York County Supreme Court which, on appeal, also found for the game’s makers, the judges, as a point of law, accepted the claim a computer game’s character "could be construed a portrait", which "could constitute an invasion of an individual’s privacy" but, on the facts of the case, the likeness was "not sufficiently strong".  The “… artistic renderings are an indistinct, satirical representation of the style, look and persona of a modern, beach-going young woman... that is not recognizable as the plaintiff" Judge Eugene Fahey wrote in his ruling.  Ms Lohan’s lawyers did not seek leave to appeal.

Real & fake appears as simple and obvious a dichotomy as black & white but humanity has managed over the millennia to create many grey areas in many shades, thus the wealth of antonyms and synonyms for “authentic”.  Authentic now carries the connotation of an authoritative confirmation (which can be formalized as a process which culminates with the issue of a “certificate of authenticity” although the usefulness of that of course depends on the issuing authority being regarded as authentic.  Genuine carries a similar meaning but in a less formalized sense and in some fields (such as the art market), something can simultaneously be genuine yet not authentic (a painting might for example be a genuine seventeenth century oil on canvas work yet not be the Rembrandt it was represented to be; it’s thus not authentic).  The word real is probably the most simple term of all and can often be used interchangeably but unless what’s being described is unquestionable “real” in every sense, more nuanced words may be needed.  Veritable was from the Middle French veritable, from the Old French veritable, from the Latin veritabilis, from vēritās (truth), the construct being vērus (true; real) +‎ -tās (the suffix used to form abstract nouns).  The traditional of use in English however means veritable had become an expression of admiration (eg “she is a veritable saint”) rather than a measure of truthfulness or authenticity.

Other nuances also organically have evolved.  Authentic now implies the contents of the thing in question correspond to the facts and are not fictitious while genuine implies that whatever is being considered is something unadulterated from its original form although what it contains may in some way be inauthentic.  This is serviceable and as long as it’s not used in a manner likely to mislead is a handy linguistic tool but as Henry Fowler (1858–1933) noted in his A Dictionary of Modern English Usage (1926), it was an artificial distinction, “…illustrated by the fact that, “genuine” having no verb of its own, “authenticate” serves for both”.

Degrees of authenticity: 2016 Jaguar XKSS (continuation series)

In 2016 Jaguar displayed the first of nine XKSS "continuation" models.  In 1957, Jaguar had planned a run of 25 XKSSs which were road-going conversions of the Le Mans-winning D-type (1954-1956).  Such things were possible in those happier, less regulated times.  However, nine of the cars earmarked for export to North America were lost in fire so only 16 were ever completed.  These nine, using the serial numbers allocated in 1957 are thus regarded as a "continuation of the original run" to completion, Jaguar insisting it is not "cloning itself".  The project was well-received and the factory subsequent announced it would also continue the production run of the lightweight E-Types, again using the allocated but never absorbed ID numbers.  Other manufacturers, including Aston Martin, have embarked on their own continuation programmes and at a unit cost in excess of US$1 million, it's a lucrative business.

In the upper (or at least the most obsessional) reaches of the collector car market, the idea of “authenticity” is best expressed as “originality”.  As early as the 1950s when the market began to the process of assuming its present form, originality was valued because many of the pre-war machines first to attract interest (Bentley, Rolls-Royce, Lagonda et al from the UK, Duisenberg, Stutz, Cadillac et al from the US and Mercedes-Benz, Isotta Fraschini, Bugatti et al from Europe) had over the years receive different coachwork from that which was originally supplied.  At the time however, the contemporary records suggest that if a rakish new body had replaced something dowdy, it was a matter for comment rather than objection.  Nor were replacement engines and transmissions thought objectionable as long as they replicated the originals, there then being an understanding things wear out.  Those mechanical components were however among the first to come to the attention of the originality police and “matching numbers” became a thing, every stamped component with a serial number (engine blocks & heads, transmission cases, differential housings etc) which could be verified against factory records, made a car more collectable and thus more valuable.  It was a matter of originality which came to matter, not functionality which mattered; a newer, better engine detracted from the value.  In some cases originality was allowed to be a shifting concept especially with vehicles used in competition; if a Ferrari was found to be on its third engine, that was fine as long as each swap was performed, in period, by the factory or its racing team.

An authentic 1968 Chevrolet SS427.  Because Chevrolet was during the 1960s somewhat lax in recording the exact details of the exact configuration of the cars as they left the assembly line, it can be difficult to verify what's an authentic Chevrolet SS and what's not.  Quite a few Impalas and others have been modified and represented as what they're not and it can take an expert to tell the difference and that difference can be worth tens of thousands of dollars.  Fortunately, there are many experts.    

That exception aside, it’s now very different and, all else being equal, the most authentic collectable of its type is the one most original.  These days collectors will line up their possessions in rows to be judged by “certified judges” who, clipboards in hand will peak and poke, ticking or crossing the boxes as they go.  They’re prepared to concede the air in the tyres, the fuel in the tank and the odd speck of dust on the carpet may not be what was there when first the thing left the factory but points will be deducted for offenses such as incorrect screw heads, or a hose clap perhaps being installed clockwise rather than anti-clockwise.  Sometimes a variation from the original can’t be detected, even by a certified judge.  If a component (without a verifiable serial number) has been replaced with a genuine factory part number, if done properly that will often get a tick whereas a reproduction part from a third-party manufacturer will often have some barely discernible difference and thus get a cross.  Given the money which churns around the market, there’s a bit of an informal industry in faking authenticity and with some vehicles it is actually technically possible exactly to take a mundane version of something and emulate a more desirable model; the difference in value potentially in the millions.  In some cases however, even if technically possible, it may be functionally not: If it’s notorious that only ten copies were produced of a certain model and all have for decades been accounted for, it’s not plausible to possess and eleventh. However, there are instances where the combination of (1) the factory not maintaining the necessary records and (2) the vehicle itself not being fitted with the requisite stampings or identification plates to determine exactly what options may originally have been fitted.

Christ with the Woman Taken in Adultery by Han van Meegeren (1889–1947) following Vermeer (1632-1675).

The matter of authenticity is obviously important in the art market.  Usually the critical factor is the identity of the artist.  In May 1945, immediately after the liberation from Nazi occupation of the Netherlands, the authorities arrested Dutch national Han van Meegeren (1889–1947) and charged him with collaborating with the enemy, a capital crime.  Evidence had emerged that van Meegeren had during World War II sold Vermeer's Christ with the Woman Taken in Adultery to Hermann Göring (1893–1946; prominent Nazi 1922-1945, Reichsmarschall 1940-1945).  His defense was as novel as it was unexpected: He claimed the painting was not a Vermeer but rather a forgery by his own hand, pointing out that as he had traded the fake for over a hundred other Dutch paintings seized earlier by the Reich Marshal and he was thus a national hero rather than a Nazi collaborator.  With a practical demonstration of his skill, added to his admission of having forged five other fake "Vermeers" during the 1930s, as well as two "Pieter de Hoochs" all of which had shown up on European art markets since 1937, he convinced the court and was acquitted but was then, as he expected, charged with forgery for which he received a one year sentence, half the maximum available to the court.  He died in prison of heart failure, brought on by years of drug and alcohol abuse.

His skills with brush and paint aside, Van Meegeren was able successfully to pass off his 1930s fakes as those of the seventeenth century painter of the Dutch baroque, Johannes Vermeer (1632–1675), because of the four years he spent meticulously testing the techniques by which as a new painting could be made to look centuries old.  The breakthrough was getting the oil-based paints thoroughly to harden, a process which naturally occurs over fifty-odd years.  His solution was to mix the pigments with the synthetic resin Bakelite, instead of oil.  For his canvas, he used a genuine but worthless seventeenth-century painting and removed as much of the picture as possible, scrubbing carefully with pumice and water, taking the utmost care not to lose the network of cracks, the existence of which would play a role in convincing many expert appraisers they were authentic Vermeers.  Once dry, he baked the canvas and rubbed a carefully concocted mix of ink and dust into the edges of the cracks, emulating the dirt which would, over centuries, accumulate.

Authentically guilty as sin: Hermann Göring in the dock, Nuremberg, 1946.

Modern x-ray techniques and chemical analysis mean such tricks can no longer succeed but, at the time, so convincing were his fakes that no doubts were expressed and the dubious Christ with the Woman Taken in Adultery became Göring's most prized acquisition, quite something given the literally thousands of pieces of art he looted from Europe.  One of the Allied officers who interrogated Göring in Nuremberg prison prior to his trial (1945-1946) recorded that the expression on his face when told "his Vermeer" was a fake suggested that "...for the first time Göring realized there really was evil in this world".

So the identity of the painter matters, indeed, between 1968-2014, there was a standing institution called the Rembrandt Research Project (RRP), an initiative of the Nederlandse Organisatie voor Wetenschappelijk Onderzoek (the NOW; the Netherlands Organization for Scientific Research), the charter of which included authenticating all works attributed to the artist (Rembrandt Harmenszoon van Rijn (1606-1669).  That was a conventional approach to authentication but there are others.  In the West there’s a long standing distinction between “high art” and “popular art” but not all cultures have that distinction and when the output of artists from those cultures is commoditised, what matters is ethnicity.  In Australia, the distinctive paintings categorized as “indigenous art” have become popular and are a defined market segment and what determines their authenticity is that they are legitimately and exclusively the work of indigenous artists.  The styles, of which dot painting is the best known, are technically not challenging to execute and thus easy to replicate by anyone and this has caused where non-indigenous hands have been found (or alleged) to be involved in the process.

The Times (London), 8 March 1997.

In 1997, Elizabeth Durack (1915–2000), a Western Australian disclosed that the much acclaimed works of the supposed indigenous artist “Eddie Burrup” had actually been painted by her in her studio, Eddie Burrup her pseudonym.  To make matters worse, prior to her revelation, some of the works had been included in exhibitions of Indigenous Australian art.  Although noted since the 1980s, the phrase “cultural appropriation” wasn’t then widely used outside of academia of activist communities but what Ms Durack did was a classic example of a representative of a dominant culture appropriating aspects of marginalized or minority cultures for some purpose.  Sometimes (perhaps intentionally) misunderstood, the critical part of cultural appropriation is the relationship between the hegemonic and the marginal; a white artist creating work in the style of an indigenous, colonized people and representing it in a manner which suggests it’s the product of an indigenous artist is CA.  Condoleezza Rice (b 1954; US secretary of state 2005-2009) playing Chopin on a Steinway is not; that’s cultural assimilation.  Once the truth was known, the works were removed from many galleries where they had hung and presumably the critical acclaim they had once received was withdrawn.  Both responses were of course correct.  Had Ms Durack represented the works as her own and signed them thus that would have been cultural appropriation and people could have responded as they wished but to represent them as the works of someone with a name all would interpret as that of an indigenous artist was both cultural appropriation and deceptive & misleading conduct with all that that implies.

One of the photographs run by The Australian (News Corp) in this report on the involvement of white people in the production of indigenous paintings, April 2023.

More recently, there have been accusations white staff employed in a commercial gallery where indigenous artists are employed to create paintings have been influenced, assisted or interfered with (depending on one’s view) in the production process.  According to the stories run in the Murdoch press, a white staff member was filmed suggesting some modification to an artist although whether this was thought to be on artistic grounds or at attempt to make something more resemble what sells best isn’t clear.  However, in a sense the motive doesn’t matter because the mere intervention detracts from the authenticity of the product, based as it is not on the inherent artistic merit but on the artist being indigenous.  In that the case was conceptually little different from Göring’s “Vermeer” which for years countless experts in fine art had acclaimed as a masterpiece while it hung in Carinhall, an opinion not repeated as soon as its dubious provenance was revealed.  Nor is it wholly dissimilar to the case of the replica 1962 Ferrari 250 GTO which is essentially a carbon copy of one of the 40-odd originals made (indeed it was in some ways technical superior) yet it is worth US$1.2 million while the record price for a genuine one was US$70 million.  So for a product to be thought authentic can depend on (1) that it was created by a certain individual, (2) that it was created by a member of a certain defined ethnicity or (3) that it was created by a certain institution.

Salvator Mundi (Savior of the World, circa 1505), oil on walnut by Leonardo da Vinci (1452–1519).

In art, authenticity is precious in many senses.  Salvator Mundi, the critics admit, is not an exceptional painting but once authenticated as the work of Leonardo, it created its own exceptionalism, in 2017 becoming the most expensive painting ever sold at public auction, attracting US$450 when offered by Christie's in New York.  The criteria for assessing the works of indigenous artists is also beneficial for them because unlike mainstream art, they’re not assessed as good or bad but merely as authentically indigenous or not.  That’s why there are no bad reviews of indigenous art or performance because the concept is (1) irrelevant, (2) such an idea is alien to indigenous peoples in Australia and (3) if expressed by white critics would represent the imposition of a Western cultural construct on a marginalized group.  Dot paintings and such are marketed through the structures of the art market because physically they’re similar objects (size & weight) to other paintings but they’re really modern, mass-produced artefacts which depend on provenance as much as a Ferrari, Leonardo or Vermeer.