Monospecchio

Monospecchio (pronounced mon-oh-spec-kjo)

The Italian for “one mirror”, a descriptor applied to the early production (1984-1987) Ferrari Testarossas (1984-1991).   

1984: The construct was mono- + specchio.  Mono was from the Ancient Greek, a combining form of μόνος (monos) (alone, only, sole, single), from the Proto-Hellenic mónwos, from the primitive Indo-European mey- (small).  It was related to the Armenian մանր (manr) (slender, small), the Ancient Greek μανός (manós) (sparse, rare), the Middle Low German mone & möne, the West Frisian meun, the Dutch meun, the Old High German muniwa, munuwa & munewa (from which German gained Münne (minnow).  As a prefix, mono- is often found in chemical names to indicate a substance containing just one of a specified atom or group (eg a monohydrate such as carbon monoxide; carbon attached to a single atom of oxygen).  The Italian specchio (mirror, table, chart) was from the Vulgar Latin speclum, a syncopated form of the Classical Latin speculum, the construct being speciō +‎ -culum.  Speciō (observe, watch, look at) was from the From Proto-Italic spekjō, from the primitive Indo-European spéḱyeti which was cognate with the Ancient Greek σκέπτομαι (sképtomai), the Avestan (spasyeiti), and the Sanskrit पश्यति (páśyati).  The suffix –culum was (with anaptyxis) from the Proto-Italic -klom, from the primitive Indo-European -tlom, from -trom.  Despite the resemblance, ōsculum and other diminutive nouns do not contain this suffix which was used to form some nouns derived from verbs, particularly nouns representing tools and instruments.

1957 Ferrari 250 Testa Rossa.

The 250 Testa Rossa was created because rule changes for the 1958 season imposed a 3.0 litre displacement limit, rendering the 3.8 Litre 315 S obsolete.  A 250 Testa Rossa sold in a private sale in 2014 for a reported US$39.8 million, exceeding somewhat the US$16.39 million one achieved at auction in 2011.  The (testra rossa literally “red head” in Italian) was a revival of one the factory had last used on the 1954 500 TR, the visual link to the name the red paint applied to the engines' camshaft covers.  The 250 Testa Rossa was part of the team which contributed to Scudaria Ferrari winning the the 1957 World Sportscar Championship. 

BB & BB:  Ferrari 365 GT4 BB (left) on display at the 1971 Turin Motor Show and Brigitte Bardot, supine, 1968 (right).

Appearing also in Formula One and sports car racing, between 1973-1996 Ferrari to used a flat-12 win a number of road cars.  Pedants insist the engines were really 180^o V12s ("flattened V12" in the engineer's slang) because of a definitional distinction related to the attachment and movement of internal components; the external shape is essentially identical but the factory was in general a bit loose with the nomenclature on which purists like to insist.  The first of the road-going flat-12 Ferraris was the 365 GT4 BB (1973-1984), the “BB” long thought to stand for Berlinetta Boxer but Road & Track in 2018 noted RoadRat's publication of an interview with the BB’s designer, Leonardo Fioravanti (b 1938) who admitted it was named after the actress Brigitte Bardot (b 1934), simply because the staff in Ferrari's design office were as besotted with Mademoiselle Bardot as engineers everywhere; "Berlinetta Boxer" was just a cover story.  There’s an undeniable similarity in the pleasing lines of the two and on the factory website, Ferrari later confirmed the story.  Until then "Berlinetta Boxer" was the orthodoxy although there must have been enough suspicion about for someone to speculate the origin might be bialbero, (literally "twin shaft"), a clipping of bialbero a camme in testa (double overhead camshaft (DOHC)) which was from the slang of Italian mechanics.

1975 Ferrari 365 GT4 BB in Verde Germoglio with satin black lower panels over black leather.

The Italian berlinetta translates as “little saloon” and is the diminutive of berlina (sedan) and the 365 GT4 BB in no way resembled a saloon, small or large, Ferrari using the word to describe a two-seat car with a closed cockpit (convertibles are Spiders or Spyders), referred to by most as a coupé.  Nor was the Ferrari’s flat-12 technically a boxer, the boxer configuration one where each pair of opposed pistons move inwards and outwards in unison, the imagery being that of a pugilist, ritualistically thumping together their gloves prior to a bout.  The Ferrari unit instead used the same arrangement as a conventional V12, each pair of pistons sharing a crankpin whereas as true boxer has a separate crankpin for each piston.  This is one practical reason why boxer engines tend not to have many cylinders, the need for additional crankpins adding to weight & length.  Thus the earlier flat-16s, the Coventry Climax FWMW (1963-1965) intended for Formula One and the unit Porsche developed in 1971 for the Can-Am and tested in chassis 917-027 weren't boxers although bulk was anyway a factor in both proving abortive, Porsche instead turbo-charging their flat-12 and Coventry Climax giving up entirely, the FWMW having never left the test-bench.  Despite it all, just about everybody calls the 365 GT4 BB “the Boxer” and its engine a “flat-12”, the factory clearly unconcerned and while cheerfully acknowledging the technical differences, their documents refer to it variously as a “boxer”, a “180^o v12”, a “flat-12” & a “boxer-type” engine.

1985 Ferrari Testarossa “monospecchio-monodado”.  The early cars were fitted with centre-lock magnesium-alloy wheels, chosen for their lightness.  Responding to feedback from the dealer network, as a running-change during 1988, these were substituted for units with a conventional five-bolt design.  The centre-lock wheels were called monodado (one nut) while the five lug-types were the cinquedado (five nut) and because of the time-line, while all the monospecchio cars are also monodado, only some of the monodaddi are monospecchi.

When first shown at the Paris Motor Show in 1984, two features of the Testarossa which attracted much comment were the distinctive strakes which ran almost from the front of the door to the radiator air-intakes ahead of the rear wheel arch and the single, high-mounted external mirror (on the left or right depending on the market into which it was sold).  The preferred term is the native “monospecchio” (one mirror) although in the English speaking-world it has also been called the “flying mirror", rendered sometimes in Italian as “specchio volante” (a ordinary wing mirror being a “specchietto laterale esterno” (external side mirror), proving most things sound better in Italian.  The unusual placement and blatant asymmetry of the monospecchi cars annoyed some and delighted others, the unhappy more disgruntled still if they noticed the vent on right of the front spoiler not being matched by one to the left.  It was there to feed the air-conditioning’s radiator and while such offset singularities are not unusual in cars, many manufacturers create a matching fake as an aesthetic device: the functionalists at Ferrari did not.

Monospecchio: Lindsay Lohan selfies, one mirror at a time.

The regulatory environment in various jurisdictions was a matter of great significance in the Testarossa’s development.  None of the versions of the Berlinetta Boxer had ever been certified for sale in the US which had been Ferrari’s most lucrative market and a core objective was for the Testarossa to be able easily to meet the current & projected regulations in places like the US and EU (European Union) where rules were most strict.  The number of Boxers which privately had been imported into the US to be subjected to the so-called “federalization” process was an indication demand there existed for a mid-engined, 12 cylinder Ferrari.

1985 Ferrari Testarossa “monospecchio-monodado”.  On left-hand-drive (LHD) cars the asymmetric mirror and intake for the air-conditioner's radiator were both on the left; on right-had-drive (RHD) models the mirror shifted to the other side.

One piece of legislation which soon attracted attention was the EU’s stipulations about “full rearward visibility” in the side-view mirrors.  With conventionally shaped automobiles this is usually unchallenging for designers but the Testarossa had a very wide, ascending waist-line and the sheer size of the rear bodywork was necessitated by the twin radiators which sat behind the side-strakes.  As the team interpreted the rule, the elevation of the mirror was the only way to conform but the bureaucrats proved untypically helpful, not changing the rule but providing an interpretation which would make possible the installation of the mirror at the traditional level.  That alone may have been enough to convince the factory to change but there had also been complaints, many from the US, that the monospecchio restricted the vision of oncoming traffic and many missed having a passenger-side mirror, remarking too on the difficulties found when trying rapidly to adapt to the placement, few owners using a Testarossa as their only car.  Thus was taken the decision to phase in the fitting of dual mirrors, mounted in a conventional position at the base of the A pillars.  Shown at the 1986 Geneva Motor Show, the first examples of the new arrangement were those built for European sale, a handful bound for the US revised initially in 1987 with a single, low-mounted mirror before later gaining the same dual arrangement as those sold in Europe.

1989 Ferrari Testarossa "doppiospecchio-cinquedado".  The distinctive side strakes were added because of a unique FRG (Federal Republic of Germany, the old West Germany) regulation which specified the maximum dimensions of apertures, the purpose said to be to prevent a child's head from entering such an opening during an accident.  Thus the fins but as well as meeting the rules, they were designed to take advantage of the properties of fluid dynamics, the air-flow being made less "wavy" and thus reducing turbulence, two vertical fins added to direct lateral air-flow directly into the radiators.  The engineering of the strakes was sound and most thought them aesthetically well-executed but they created such a stir that unfortunately, on both side of the Atlantic, a number of imitators quickly rendered usually fake versions in fibreglass, gluing them to Jaguars, BMWs, Mercedes-Benz and such.  Almost all were applied to cars with front-mounted radiators but this was the 1980s and a subset of the market was receptive.

Caveat emptor: 1986 Ferrari Testarossa in volante "doppiospecchio-monodado" trim.

Being Ferraris with a certain cachet, the monospecchio cars attract additional interest and inevitably there is fakery and folklore.  There exists the odd early Testarossa with either double-high or double-low (doppiospecchio) mirrors but Ferrari insists these are modifications installed either by dealers or owners and there was at a time, a lot of it about.  It wasn’t a simple job, requiring one or two mirrors, window frames and support assemblies and thus always cost somewhere in four figures but, like those who once converted their now precious 1963 split-window Chevrolet Corvettes to 1964’s single piece of glass lest they be thought driving last year’s model, there were those who didn’t wish to look outdated.  Also, the Testarossa was, by Ferrari’s standards at the time, almost mass-produced with over seven-thousand sold and in the aftermath of the severe recession of the early 1990s a glut emerged which for years depressed prices; originality not then the fetish it would later become, modifications to mirrors and other bits & pieces was uncommon.  Still, the factory was known to accommodate special requests from good customers so if a doppiospecchio with high mounts does show up, accompanied with the vital proof of authenticity, it would add a notch of desirability.  Market support for Ferrari’s flat-12 ecosystem (Boxer, Testarossa & 512 TR) is now healthy and, while not matching the buoyancy of the pre-1973 cars (and certainly not the 206 & 246 Dinos), operates well into US$ six figures, the quirk of the monospecchio cars making them much fancied.

Gargoyle & Grotesque

Gargoyle (pronounced gahr-goil)

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

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

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

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

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

Grotesque (pronounced groh-tesk)

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

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

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

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

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

The Gargoyle and Water Management

Gargoyle: Bern Minster, Switzerland.

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

Gargoyle: Cologne Cathedral, Germany.

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

Grotesque: Saint Mary’s Cathedral, Edinburgh.  Technically, this is a pair of chimeras (a subset of the grotesque).

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

Grotesque: National Cathedral, Washington DC.  Although there's an open mouth, this plays no part in water management and is purely decorative.

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

Gargoyle: Marble Church, Bodelwyddan, Clwyd, Wales.  Note the protruding spout: because the water flow will over time erode the passage, many gargoyles have internal piping (some now even plastic) which is replaceable.  The function means this Welsh figure is defined as a gargoyle although its hybrid nature is clearly that of a chimera.  

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

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

Grotesque: Crooked Hillary Clinton (digitally altered image).

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

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

Grotesques and chimeras

A chimera of Cathédrale Notre-Dame de Paris, contemplating the city, photographed by Noemiseh91.

So, in architecture, gargoyles are a specialized class of grotesques that include the functional feature of a waterspout and even if a building is renovated with a modern water management system added which means a gargoyle’s spout now longer is connected to the flow, it does not become reclassified as a grotesque; it remains a gargoyle, albeit a “dry” one.  While the difference between a gargoyle and grotesque is a matter of whether the design incorporates the handling of fluid, the distinction between a chimera and a grotesque is at the margins fluid in the metaphorical sense, both being ornamental sculptures most associated with Gothic architecture but critics have created criteria, however loose the parameters may seem.  Classically, a chimera was a fantastical, mythical creature, often a hybrid of multiple animals or a mix of human and animal features and for the architectural feature to be classified thus, it has to conform to this model.  In that chimeras differ from any grotesque which is a representation, however bizarre, of a creature from a single species.  What that means is that while all chimeras are grotesques, not all grotesques are chimeras.

Horodecki House (House with Chimaeras), Ukraine, Kyiv.

One of the most celebrated buildings said (erroneously) to be adorned with chimeras is Horodecki House in the Ukrainian capital Kyiv, a structure better known on Instagram as “House with Chimaeras” which received much attention when Volodymyr Zelensky (b 1978, president of Ukraine since 2019) in February 2022 stood in front of it to deliver his “Our weapon is truth” address following the Russian “special military operation” (invasion of Ukraine).  Classified as being in the Art Nouveau style, the building was designed by Polish architect Władysław Horodecki (1863–1930) and despite all the intricate detailing and other complexities, it was completed in little more than two years, opened in 1903.  One thing which made the speed of construction possible was the core technique of using concrete piles as the underpinning, something necessitated by the land being steeply sloped, resulting in an asymmetric building with six floors on Ivan Franko Square while three face Bankova Street.  Another novelty was the use of cement as the finishing material, something at the time not unknown but still rare.  Despite the popular moniker “House with Chimaeras”, the many sculptures which lend Horodecki House its distinctiveness are technically grotesques because all, bipeds & quadrupeds, are representations of real animals, not figures from mythology or fantastical hybrids and it’s believed it picked up the romantic nickname because it imparts such a wonderful air of gloominess and recalls the Gothic style.  The grotesques, rendered in cement, were the work of the Italian sculptor Emilio Sala (1864-1920) who spent most of his working life in St Petersburg (Leningrad) and Kyiv (Kiev).

Interior detailing, Horodecki House Ukraine, Kyiv.

The motif was the theme also for the interior detailing with stuccos, high reliefs and sculptures decorating the ceilings, walls and stairs and of particular interest is that while what’s depicted on the exterior uses only living creatures as a model, inside, everything is dead and often dismembered; Horodetskyi was an avid hunter.  Despite the pervasive feeling of gloom as one approaches the thing, it’s different inside because (the many carcases notwithstanding) the rooms are bright and airy with the floral ornaments typical of early Modernism although it’s of regret all the original furniture and many of the frescos fell victim during World War II (1939-1945) to marauding Red Army soldiers and other looters.  Although in recent years substantially restored, no attempt was made to re-create the frescos, the space now taken by paintings.

Woman with Catfish, Horodecki House Ukraine, Kyiv, photographed by Константинъ. 

Although there are two creatures in this sculpture, it's still a grotesque because they're separate beings; had the depiction been part fish and part human, it would have been as chimaera.  Although large, certain catfish reach 3 metres in length so the sculptor was rendering still still in the realist tradition.

Following restoration, in 2004 the building was designated a museum but since 2005 it has enjoyed official status as the “Small Residence of the President of Ukraine”, curious term meaning it’s used for meetings with foreign dignitaries and in that there are many advantages, the location meaning it’s easy for security forces to secure the site while the larger rooms are spacious and make a most attractive backdrop for photo opportunities.  Daily Art Magazine has a feature with a fine collection of images.

Violin

Violin (pronounced vahy-uh-lin)

(1) The treble instrument of the family of modern bowed instruments, built as a small unfretted instrument with four strings tuned (lowest to highest) G-D-A-E and held nearly horizontal by the player's arm against the chin, with the lower part supported against the collarbone or shoulder; it’s played with a bow.

(2) In musical performance, metonymically, the position of a violinist in an orchestra, string quartet or other formation or group (sometimes as first violin, second violin etc).

(3) In musical composition, a part to be played on a violin.

(4) Any instrument of the violin family, always inclusive of violins, violas, and cellos and sometimes further including the double bass (used by certain musical specialists but a use derided by most).

(5) To play on, or as if on, a violin (rare except in technical use),

1570–1580: From the Italian violino (a little viola), the construct being viol(a) (from the Italian viola, from the Provençal and of uncertain origin but there may be some link with the Latin vītulārī (to rejoice)) + -ino (the suffix used to form diminutives).  The sixteenth century word described the modern form of the smaller, medieval viola da braccio.  The violin and viola share similarities in terms of construction and playing technique but a violin is smaller.  A full-size violin has a body length around 14 inches (360 mm) while a viola typically extends to around 16 inches (405 mm) and the larger instrument tends to have a lower pitch range and different tonal qualities.  The violin is noted for a high pitch range (G-D-A-E low to high) while a viola is tuned to C-G-D-A, a perfect fifth lower which lends it a deeper, mellower sound.  In an orchestra, the violin usually plays the melody (the highest voice in the string section) and thus many solo pieces are written which attract the most virtuosic players.  Viola pieces are usually supportive , providing harmony, inner voices, or countermelodies although it does have its own solo repertoire.  Violin is a noun & verb, violinist is a noun and violining & violined are verbs; the noun plural is violins.

The Duce with violin.

As well as professionals, the violin has long attracted also those who enjoy music as a hobby, Charlie Chaplin (1889–1977), Marlene Dietrich (1901-1992), Albert Einstein (1879-1955) & Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) were all keen players and leader of the US Nation of Islam (NOI), Louis Farrakhan (b 1933), in 1993 even performed Felix Mendelssohn's (1809-1847) Violin Concerto in E Minor.  His skill aside (and the reviews were warm enough), the choice of a piece by Mendelssohn was interesting because of Mr Farrakhan's history of anti-Semitic rhetoric but even in that the interpretations of motive varied because although of Jewish ancestry, the composer was baptized and raised a Christian and while in recent years some scholars have made the case for the sincerity of his Christianity, others maintain that for most of his life he displayed an unalloyed reverence for his Jewish roots.  However while the persistent legend is that Roman Emperor Nero (37-68) "fiddled while Rome burned" in 64 AD it probably isn't true; even if he "fiddled away" on some instrument, it wouldn't have been a fiddle because that device was 15 centuries away.  If he played anything mid-inferno it was probably a lute but historians think the phrase was intended to mean something like "twiddled his thumbs", suggesting he was negligently inactive or inept in his handling of the disaster.  Even this is now thought by many historians to be the fake news of its day, spread by his political enemies (of which justly he had many).

Lindsay Lohan backstage with guitarist Michael Isbell (b 1979) & fiddle player Amanda Shires (b 1982) at the Dylan Fest concert, Bowery Ballroom, New York City, November 2013.

The distinction between the violin and the fiddle is less about the actual instruments than the use to which they’re put although both words are replete with cultural baggage.  What is essentially the same instrument is thought a violin when playing from the classical canon and a fiddle if performing folk or country & western music.  Of course there are many genres apart from these and when the instrument is used in other settings (jazz, pop et al), the use is up to the individual, influenced either by their own preference or some sense of adherence to the conventions describing whatever is being performed.  The fiddle (as a stringed musical instrument) has a long history and is a feature of much medieval art depicting performances of folk music.  It was from the late fourteenth century Middle English fedele, fydyll & fidel from the eleventh century fithele, from the Old English fiðele (fiddle) which was related to the Old Norse fiðla, the Middle Dutch vedele, the Dutch vedel, the Old High German fidula and the German Fiedel, all of which are of uncertain origin.  There’s never been anything to suggest there’s anything onomatopoeic in the origin and the most cited theory (based on resemblance in sound and sense), is that there’s a connection to the Medieval Latin vitula (stringed instrument (source of Old French viole and the Italian viola), which may be related to the Latin vitularia (celebrate joyfully), from Vitula, the Roman goddess of joy and victory, thought to have been drawn from the Sabines.  That however remains speculative and it’s not impossible the Medieval Latin word was derived from one of the Germanic forms.

The Dallas-based Quebe Sisters (siblings Grace, Sophia & Hulda) are a triple fiddle trio who play what is described as "neo-traditionalist western swing".

Despite the snobbery of some, those who enjoy country & western music are not culturally inferior; it’s just a different form of sophistication.  In certain circles however there is a dismissive contemptuousness of “fiddle songs” and the fiddle’s reputation has suffered by association, relegated to the colloquial usage by the respectable violin, a process doubtlessly hastened by encouraged by phrases such as fiddlesticks (from the 1620s meaning “untrue; absurd”), fiddle-de-dee (from 1784 and a nonsense word in the sense of “contemptuously silly”) and fiddle-faddle (a mid-nineteenth century coining to convey the idea of “a statement worthy only of ridicule; blatantly untrue”).  The outlier of course is fit as a fiddle (robust; in rude good health), noted since the 1610s and apparently unrelated to music or the instrument, it being probably one of those English sayings which caught on because of the alliterative appeal and there are etymologists who suspect the original form was “fit as a fiddler” but the familiar version prevailed because it more easily rolled from the tongue.

The Kreutzer Sonata (1901), oil on canvas by René François Xavier Prinet (1861-1946).

The Kreutzer Sonata was inspired by Leo Tolstoy’s (1828-1910) novella of the same title (1889), which was named after Ludwig van Beethoven’s (circa 1770–1827) Violin Sonata No 9, Opus 47 (1803), a violin and piano composition dedicated to the French violinist & conductor Rodolphe Kreutzer (1766-1831).  Kreutzer never performed the piece but whether this was related to him being the “second choice” is unknown.  Beethoven originally dedicated the sonata to another violinist who first performed it but the two had a squabble about something and the bad-tempered composer instead conferred the honor on Kreutzer.  The work is a favorite among violinists because it can convey an emotional range from anger and despair to joy and in this vein, Tolstoy’s tale is one of a woman murdered by her husband because of his suspicion of her infidelity with a violinist.  The Tsar’s censor (a busy, full-time job) for a time banned the book because of concerns it might “stir the emotions”.

Viola is a genus of flowering plants in the violet family Violaceae.

The sonata had certainly stirred something in Tolstoy who said he was “shocked at the eroticism” when it was performed by a man and a woman and he wasn’t the only one affected by the instrument.  Both the Italian composer and violinist of the Baroque period Giuseppe Tartini (1692–1770) and Igor Stravinsky (1882-1971) also referred to the violin as “the devil’s instrument, the Italian with rather more glee, the Russian well-deserving the appellation “six odd feet of Russian misery” attributed to George Gershwin (1898-1937).  Tolstoy depicted the violin as something so evil in the eroticism it could summon it could drive a man to murder and infamously there was a violinist who murdered on a grand scale.  The roll-call of evil-doers among the Nazi hierarchy was long and it’s probably morally dubious to try to suggest which were worse than others but probably all agree Schutzstaffel (SS) Obergruppenführer (an SS rank equivalent to an army general) Reinhard Heydrich (1904–1942; head of the Reichssicherheitshauptamt (Reich Main Security Office (including the Gestapo, Kripo, and SD 1939-1942)) was as repellently awful as any.  He was though a genuinely gifted musician and could have pursued a musical career; it was said that when he played the violin, grown men could be reduced to tears.

Kiki in Le Violon d'Ingres.

One of the enduring images of surrealist photography Le Violon d'Ingres (Ingres's Violin) was taken by the US visual artist Man Ray (Emmanuel Radnitzky 1890-1976) in Paris 1924.  The model was Kiki de Montparnasse (“Kiki of Montparnasse”: Alice Prin; 1901–1953) and the title was something of a play on words, the French phrase “le violon d'Ingres” meaning “hobby” and mademoiselle Kiki the photographer’s muse and lover (it was a tempestuous relationship). The French expression was derived from the habit of the neoclassical painter Jean-Auguste-Dominique Ingres (1780–1867) insisting on playing the violin to visitors who were there anxious to view his paintings.  The photograph references one of the artist’s most admired works, La Grande Baigneuse (The Valpinçon Bather) which focuses also on the female back.  Obviously, Man Ray worked in the pre-digital world when images were committed to celluloid but his post-production editing technique used layers in a way analogous with that of Photoshop and other image handlers: Wanting to explore the similarity in shape between the body of a violin and the pleasing torso of his model, he first printed a copy onto which he painted the f-holes of a violin, then photographed the modified image.  That became the famous work and in June 2022 it went under the hammer for US$12.4 million at Christie's New York, making it the most expensive ever to be sold at auction.

Kiki in a French postcard, circa 1920.

Mademoiselle Kiki was from the provinces and came to nude modelling in Paris only after a succession of dreary jobs, the last in a bakery from which she was fired by the baker’s wife for punching her in the face after being called a whore for wearing eye make-up.  Man Ray “discovered her by accident” and she found nude modelling both a pleasant occupation and more lucrative than the hard work of being a baker’s assistant but that view wasn’t shared by her mother who, tipped off by a neighbor, burst into the photographer’s studio and make it clear she agreed with baker’s wife, banning her from the apartment they shared.  The affair with Man Ray was thus immediately convenient but their feelings seem genuinely to have been sincere although it did end badly; at one point he was seen chasing her down the street, revolver in hand.

Model Adriana Fenice (b 1995) with violin and horsehair bow.

Nude modelling was at the time frowned upon by the more respectable of those engaged by Parisian fashion houses, something which endures to this day.  Even in 1946, the inventor of the bikini (not a new style but his cut was daringly minimalist) couldn’t find a model on the books of the agencies willing to be photographed in such a thing so he hired a nude model; for her it was more fabric than usual.  The disapprobation of the middle-class towards non-conforming women persists and manifests in different cultures at different levels.  In India, nude modelling is definitely out but mothers will also tar occupations such as prostitute, flight attendant and call-centre worker with the same brush of un-virtue, apparently because they all sometimes work during the hours of darkness when respectable girls are in the home, cooking & cleaning.

Nicola Benedetti CBE (b 1987) with her "Earl Spencer" Stradivarius.

Violinist (one who plays the violin) dates from the 1660s and was from the Italian violinist.  A violinist is thus a musician and not a “violin maker”: those practicing that profession are properly called luthiers.  A luthier is a skilled craftsperson who specializes in the construction, repair, and restoration of stringed instruments, particularly violins and the range of skills needed is wide because a luthier needs to select and fashion by cutting and carving, different types of wood which need to be assembled and varnished, all processes which ultimately determine the instrument’s tone and aesthetic qualities.  In the traditional way of making violins, there is both artistry and craftsmanship.  Luthier has no connection with “Lucifer” (and there’s thus no link with the notion of the “devil’s instrument”).  Luthier was from the French luth (lute), a stringed instrument of great antiquity that was wildly popular during the medieval era and the Renaissance periods and the luthier's craft once focused predominately on the construction and repair of lutes.  As the lute faded from use and the violin gained prominence, luthiers adapted and changed, becoming specialists in the violin making, some branching out to include other stringed instruments such as violas, cellos, and guitars.  The French luth was from leutier, from the Latin luteum (yellow or yellowish), thought to refer to the honey-colored wood most suited to musical instruments.

Yehudi Menuhin on stage, 1943.

Still the most famous of the luthiers is Antonio Stradivari (1644-1737) whose workshop was in Cremona.  His violins, of which there were thousands, may or may not have been the product of his own hands because he had sons and pupils in his business but the survivors by the 1990s were selling for millions.  The familiar Stradivarius is the anglicized form and although some “blind tests” have suggested even experts can’t tell the difference in the sound from a genuine “Strad” and a good quality modern violin, they have become a collectable and now sell for even more millions.  The acclaimed virtuoso Yehudi Menuhin (1916–1999) for decades played on one of the rare Soil Stradivarius, crafted in 1714 during the luthier’s “golden period”.  During World War II (1939-1945), Menuhin sometimes played concerts to entertain troops and once found out that due to an army SNAFU, his waiting audience was expecting an attractive young lady to sing for them.  Undeterred, he walked on stage, telling the soldiers: “You won’t enjoy this, but it’s good for you”, proceeding to play Handel’s Violin Sonata No. 3.  It was well received.

The Joachim-Ma Stradivarius.

In February 2025 a Stradivarius violin, authenticated as having been crafted in 1714, sold at a Sotheby’s of Manhattan auction in New York for $11.25 million which disappointed some who had expected a new record for the instrument.  The 311-year-old artefact was known in the trade as the “Joachim-Ma Stradivarius”, a reference to one-time owners Hungarian violinist, conductor & composer Joseph Joachim (1831–1907 (who had been a friend of the German composer, pianist & conductor Johannes Brahms (1833–1897)) and violinist Ma Si Hon (1925-2009); in 2015 it had been donated to the New England Conservatory (NEC) with the proviso it would one day be sold to fund musical scholarships for youth.  That it didn’t set a new mark may be because, like many collectables, there is the power of celebrity association.

The Lady Blunt Stradivarius in case.

The 1721 “Lady Blunt Stradivarius” which in 2011 passed under the hammer for US$15.9 million had been named for Lord Byron’s (1788–1824) granddaughter (Anne Blunt (1837-1917); Baroness Wentworth but styled usually as Lady Anne Blunt) and in artistic circles there’s quite an allure to Byron.  That said, the mid-decade downturn in other collector markets does suggest macro-economic conditions may have been a factor in the 2025 auction, especially if recent inflation and the massive increase in the money supply since 2011 are considered.  However, the official record for US$15.9 million may not be the highest paid because, something like the Ferrari 250 GTOs, Stradivarii do change hands in unpublicized private sales (the so-called “off-market” transactions) and there are (unverified) tales of sales in excess of US$20 million.  Many analysts are sceptical about the notion of US$20 million violins because the price achieved for the Lady Blunt (though one of the finest Stradivarii known to exist, almost unflawed and still with its presentation case by W.E. Hill & Sons of London) was in a charity auction conducted for the benefit of the Nippon Foundation's relief fund for victims of the 2011 Tōhoku earthquake and tsunami.

Yehudi Menuhin playing the Lady Blunt, Sotheby's, London, 1971.

In a long career 75 years, Menuhin played a number of famous violins including the Lord Wilton Guarnerius (1742), the Giovanni Bussetto (1680), the Giovanni Grancino (1695), the Guarneri filius Andrea (1703), the Soil Stradivarius (1714), the Prince Khevenhüller Stradivari (1733) and the Guarneri del Gesù (1739).  Unlike racing car drivers who in their memoirs usually list the best (and, often more expansively, the worst) machine they handled, in neither of his volumes of autobiography (Unfinished Journey (1977) and Unfinished Journey: Twenty Years Later (1997) he didn’t rate them although the one he played for almost four decades was the Soil Stradivarius, purchased in 1950.