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Thursday, February 19, 2026

Dart

Dart (pronounced dahrt)

(1) A small, slender missile, sharply pointed at one end, typically feathered (or with the shape emulated in plastic) at the other and (1) propelled by hand, as in the game of darts (2) by a blowgun when used as a weapon or (3) by some form of mechanical device such as a dart-gun.

(2) Something similar in function to such a missile.

(3) In zoology, a slender pointed structure, as in snails for aiding copulation or in nematodes for penetrating the host's tissues; used generally to describe the stinging members of insects.

(4) Any of various tropical and semitropical fish, notably the dace (Leuciscus leuciscus).

(5) Any of various species of the hesperiid butterfly notably the dingy dart (of the species Suniana lascivia, endemic to Australia).

(6) In the plural (as darts (used with a singular verb), a game in which darts are thrown at a target usually marked with concentric circles divided into segments and with a bull's-eye in the center.

(7) In tailoring, a tapered seam of fabric for adjusting the fit of a garment (a tapered tuck).

(8) In military use, a dart-shaped target towed behind an aircraft to train shooters (a specific shape of what was once called a target drone).

(9) An act of darting; a sudden swift movement; swiftly to move; to thrust, spring or start suddenly and run swiftly.

(10) To shoot with a dart, especially a tranquilizer dart.

(11) To throw with a sudden effort or thrust; to hurl or launch.

(12) To send forth suddenly or rapidly; to emit; to shoot.

(13) In genetics, as the acronym DarT, Diversity arrays Technology (a genetic marker technique).

(14) Figuratively, words which wound or hurt feelings.

(15) In slang, a cigarette (Canada & Australia; dated).  The idea was a “lung dart”.

(16) In slang, a plan, plot or scheme (Australia, obsolete).

(17) In disaster management, as the acronym DART, variously: Disaster Assistance Response Team, Disaster Animal Response Team, Disaster Area Response Team, Disaster Assistance & Rescue Team and Disaster Response Team

1275–1325: From the Middle English dart & darce, from the Anglo-French & Old French dart & dard (dart), from the Late Latin dardus (dart, javelin), from the Old Low Franconian darōþu (dart, spear), from the Proto-Germanic darōþuz (dart, spear), from the primitive Indo-European dherh- (to leap, spring);.  It was related to the Old English daroth (spear), daroþ & dearod (javelin, spear, dart), the Swedish dart (dart, dagger), the Icelandic darraður, darr & dör (dart, spear), the Old High German tart (dart) and the Old Norse darrathr (spear, lance).  The Italian and Spanish dardo are believed to be of Germanic origin via Old Provençal.  The word dart can be quite specific but depending on context the synonyms can include arrow or barb (noun), dash, bolt or shoot (verb) or cigarette (slang).  Dart & darting are nouns & verbs, darted & dartle are verbs, darter is a noun, verb & adjective, dartingness is a noun, darty is a verb & adjective, dartingly is an adverb; the noun plural is darts.

Between the eyeballs: Crooked Hillary Clinton dart board.

The late fourteenth century darten (to pierce with a dart) was from the noun and is long obsolete while the sense of “throw with a sudden thrust" dates from the 1570s.  The intransitive meaning “to move swiftly” emerged in the 1610s, as did that of “spring or start suddenly and run or move quickly” (ie “as a dart does”).  The name was first applied to the small European freshwater fish in the mid-fifteenth century, based on the creature’s rapid, sudden (darting) movements (other names included dars, dase & dare, from the Old French darz (a dace), the nominative or plural of dart, all uses based on the fish’s swiftness.  The alternative etymology in this context was a link with the Medieval Latin darsus (a dart), said to be of Gaulish origin.

The name dart is now also used of various (similar or related) various tropical and semitropical fish.  It was in Middle English Cupid's love-arrows were first referred to as Cupid's dart (Catananche caerulea).  The modern dart-board was unknown until 1901 although similar games (the idea of archery with hand-thrown arrows) long predated this.  In zoology, the marvelously named “dart sac” describes a sac connected with the reproductive organs of certain land snails; it contains the “love dart” the synonyms of which are bursa telae & stylophore.  In archaeology, the term “fairy dart” describes a prehistoric stone arrowhead (an elf arrow).  A “poison dart” may be fired either from a dart gun or a blow-pipe (the term “dart-pipe” seems never to have been current) while a tranquilizer dart (often used in the management of large or dangerous animals) is always loaded into a dart gun.  The terms “javelin dart”, “lawn jart”, “jart” & “yard dart” are terms which refer to the large darts used in certain lawn games.  In the hobby of model aircraft, a “lawn dart” is an airframe with a noted propensity to crash (although it’s noted “pilot error” is sometimes a factor in this).  In military history, the “rope dart” was a weapon from ancient China which consisted of a long rope with a metal dart at the end, used to attack targets from long-range.

Lindsay Lohan enjoying the odd dart.  Inhaling a known carcinogen is of course not recommended but undeniably, Lindsay Lohan could make smoking look sexy 

The Dodge Dart

The original Dodge Dart was one of Chrysler's show cars which debuted in 1956, an era in which Detroit's designers were encouraged to let their imaginations wander among supersonic aircraft, rockets and the spaceships SF (science fiction) authors speculated would be used for the interplanetary travel some tried to convince their readers was not far in the future.  When first shown, the Dart featured a retractable hard-top (something Ford would soon offer in a production car) but when the that year's show season was over, it was shipped back to Carrozzeria Ghia in Turin to be fitted with a more conventional, folding soft-top.  After a return trans-Atlantic crossing, when the 1957 show circuit concluded (during which it was dubbed "Dart II"), it was again updated by Ghia and re-named Diablo (from the Spanish diablo (devil)).

1957 Dodge Diablo, the third and final version of the 1956 Dodge Dart show car.

Although a length of 218 inches (5.5 m) probably now sounds extravagant, by the standards of US designs in the 1950s it fitted in and among the weird and wonderful designs of the time (the regular production models as well as the show cars) the lines and detailing were really quite restrained and compared with many, the design has aged well, some of the styling motifs re-surfacing in subsequent decades, notably the wedge-look.  Underneath, the Diablo’s mechanicals were familiar, a 392 cubic inch (6.4 litre) Chrysler Hemi V8 with dual four-barrel carburetors delivering power to the rear wheels through a push-button TorqueFlite automatic transmission.  Rated at 375 horsepower, the Hemi ensured the performance matched the looks, something aided by the exceptional aerodynamic efficiency, the claimed Cd (coefficient of drag) of 0.17 state of the art even in 2026.  Some engineers doubt it would return such a low number using modern wind-tunnel techniques but, by the standards of the age, doubtlessly it was slippery and (with less hyperbole than usual), Chrysler promoted the Diablo as the “Hydroplane on Wheels”,  During Chrysler’s ownership of Lamborghini (1987-1994), the name was revived for the Lamborghini Diablo 1990-2001 which replaced the Countach (1974-1990).  Visually, both the Italian cars own something of a debt to the Darts of the 1950s but neither represented quite the advance in aerodynamics Chrysler achieved all those years ago although the Lamborghini was good enough finally to achieve 200 mph (320 km/h), something which in the 1970s & 1980s, the Countach and the contemporary Ferrari 365 GT4 BB (Berlinetta Boxer, 1973-1984) never quite managed, disappointing some.  The 1970s was a time of many disappointed expectations.

The memorable 1957 Chrysler 300C (left) showed the influence of the Diablo but a more rococo sensibility had afflicted the corporation which the 1960 Dart Phoenix D500 Convertible (right) illustrates.  Things would get worse. 

Dodge began production of the Dart in late 1959 as a lower-priced full-sized car, something necessitated by a corporate decision to withdraw the availability of Plymouths from Dodge dealerships.  Dodge benefited from this more than Plymouth but the model ranges of both were adjusted, along with those sold as Chryslers, resulting in the companion DeSoto brand (notionally positioned between Dodge & Chrysler) being squeezed to death; the last DeSotos left the factory in 1960 and the division shuttered.  Unlike its namesake from the show circuit, the 1959 Dodge Dart was hardly exceptional and it would barely have been noticed by the press had it not been for an unexpected corporate squabble between Chrysler and Daimler, a low volume English manufacturer of luxury vehicles (leather, burl walnut and all that) that was branching out into the sports car market.  Daimler planned to call their little roadster the "Dart".

Using one of his trademark outdoor settings, Norman Parkinson (1913-1990) photographed model Suzanne Kinnear (b 1935) adorning a Daimler Dart (SP250), wearing a Kashmoor coat and Otto Lucas beret with jewels by Cartier.  The image was published on the cover of Vogue's UK edition in November 1959.

With great expectations, Daimler displayed their Dart at the 1959 New York Motor Show and there the problems began.  Aware the little sports car was quite a departure from the luxurious but rather staid choice Daimler had for years offered (it was trying to forget the unpleasantness of the Docker Daimlers” which were certainly not staid), the company had chosen the pleasingly alliterative “Dart” as its name, hoping it would convey the sense of something agile and fast (fast, genuinely it was, powered by a jewel-like 2.5 litre (155 cubic inch) V8 which generated an exhaust note of rare quality).  Unfortunately for them, Chrysler’s lawyers were faster still, objecting that they had already registered Dart as the name for a full-sized Dodge so Daimler needed a new name and quickly; the big Dodge would never be confused with the little Daimler but the lawyers insisted.  Imagination apparently exhausted, Daimler’s management reverted to the engineering project name and thus the car became the SP250 which was innocuous enough even for Chrysler's attorneys and it could have been worse.  Dodge had submitted their proposal for the Dart to the board but while the car found favor, the name did not and the marketing department was told to conduct research and come up with something the public would like.  From this the marketing types gleaned that “Dodge Zipp” would be popular and to be fair, dart and zip(p) can imply much the same thing but ultimately, the original was preferred.

Things get worse: The 1962 Dodge Dart (the single-season “second generation”) looked truly bizarre; things would sometimes be stranger than this but not often.

Dodge’s stylists (they weren’t yet called “designers”) were responsible for the appearance of the second generation Dart (something they could as they wish think of as proud boast or admission of guilt) but the reduced dimensions of it and the companion Polara were a consequence of corporate industrial espionage.  One of Chrysler’s spies (they had euphemistic job titles) had discovered Chevrolet’s new range would be smaller and this information was vital because, as the market’s highest volume manufacturer, where Chevrolet went, so the rest of the industry was compelled to follow so Chrysler made the decision to anticipate the future and downsize.  However, while the intelligence was correct, the analysis was flawed because what Chevrolet was developing was a new range, slotted between the large cars and the relatively new “compacts”, introduced in 1959-1960; the new concept were the “intermediates”, dimensionally between the compacts and what would come to be called the “full-size” lines.  Amusingly, the intermediates were about the size the standard US automobile had been as recently as the mid 1950s before rising prosperity saw it grown to a size many thought absurd; as fat overtook the land, so it did what rolled off Detroit’s production lines.

1962 Dodge Dart.

The intermediates proved a great success but Dodge’s problem in 1962 was it was selling a Dart it called “full-size” while obviously it no longer was.  In the US, there’s always been a sizeable part of the population that subscribes to the “bigger is always better” school of thought and it was them who maintained strong demand for the full-size machines, something the Dart’s redesign meant Dodge no longer could put in their showrooms.  To bandage over this self-inflicted injury, hastily was conjured the Dodge Custom 880, created by bolting the 1961 Dodge Polara front end to the larger 1962 Chrysler Newport (Chrysler’s “entry-level” model which had been the last nail in DeSoto’s coffin.  However, one silver lining in having available the smaller, lighter Dart was that when fitted with the potent (rated at a realistic 415 HP (309 kW)) 413 cubic inch (6.8 litre) “Ramcharger” V8, it was highly competitive in drag racing, where it established a number of records.

Dodge got it right with the 1967-1976 Darts which could be criticized for blandness but the design was simple, balanced and enjoyed international appeal.  Two versions by Chrysler Australia are pictured, a 1971 VG VIP sedan (left) and a 1970 VG Regal 770 Hardtop (right), both fitted with the 318 cubic inch (5.2 litre) LA V8.  

If Daimler had their problems with the Dart (which turned out to go beyond the nomenclature), so did Dodge.  After the misinterpretation of their spy's good work, Dodge's sales suffered because it was perceived to be offering “less metal for the money” which was true.  The Q&D (quick & dirty) solution of the disguised Newport papered over the crack until a permanent solution could be produced but not until the next model cycle (which began in the 1965 season) was Dodge's full-size line truly re-aligned.  However, one long-lasting benefit was the decision to take advantage of the public perception “Dart” now meant something smaller and Dodge in 1963 shifted the name to its compact line which for years would in many places be a success.  It was the generation built for a decade between 1967-1976 which was most lucrative for the corporation, the cheap-to-produce platform providing the basis for vehicles as diverse as taxi-cabs, pick-ups, convertibles, remarkably effective muscle cars and even some crazy machines almost ready for the drag strip.  Being a compact-sized car in the US, the Dart also proved a handy export to markets where it could be sold as a “big” car and the Dart (sometimes locally assembled or wholly or partially manufactured) was sold in Mexico, Australia, New Zealand, the UK, Europe, East Asia, South Africa and South America.  In a form little different from the original, the “compact” Dart lasted until 1980 in South America and in Australia until 1981 although there the body-shape had in 1971 switched to the “fuselage” style with the platform carried over.

How a Dodge Hemi Dart would have appeared in 1968 (left) and Hemi Darts ready for collection or dispatch in the yard of the Detroit production facility.

The most highly regarded of the 1967-1976 US Darts were those fitted with the 340 cubic inch (5.6 litre) small-block (LA) V8 which created a much better all-round package than those using the 383 (6.3) and 7.2 (7.2) big-block V8s which tended to be inferior in just about every way unless travelling in a straight line on a very smooth surface (preferably over a distance of about a ¼ mile (400 m) and even there the 340 over-delivered.  The wildest of all the Darts were the 80 (built in 1968) equipped with a version of the 426 cubic inch (7.0 litre) Hemi V8 tuned to a specification closer to race-ready than that used in the “Street Hemi” which was the corporation’s highest-performance option.  Except for the drive-train, the Hemi Darts were an extreme example of what the industry called a “strippers”: cars “stripped” of all but the essentials.  There was thus no radio and no carpeting, common enough in strippers but the Hemi Darts lacked even armrests, external rear-view mirrors, window-winding mechanisms or even a back seat.  Nor was the appearance of these shockingly single-purpose machines anything like what was usually seen in a showroom, most of the body painted only in primer while the hood (bonnet) and front fenders, rendered in lightweight black fibreglass, were left unpainted.

The warning: What not to do, lest one's grape block should turn to wine.  In the same vein, seeking to avoid tiresome legal difficulties, Dodge had purchasers sign an addendum to the sales contract acknowledging Hemi Darts were not intended not as road cars but for use in “supervised acceleration trials” (ie drag racing).  Despite that, these were the last days that in the US one could find a jurisdiction prepared to register such things for street use and some owners did that, apparently taking Dodge’s disclaimer about as seriously as those in the prohibition era (1920-1933) observed the warning on packets of “concentrated grape blocks” not add certain things to the mix, “otherwise fermentation sets in”.

The Dendrobates tinctorius “Giant Orange”.  The common name (Dyeing Poison Dart Frog) was derived from reports by European explorers that in regions where it was endemic, indigenous inhabitants used brightly colored frogs to dye feathers & fabrics.  The collective noun for frogs is a group of frogs is army, colony or knot.

Described by retailers as a “great beginner frog” (the reason for that presumably understood by collectors) and “best kept in pairs”, a typical RRP (recommended retail price) in the US seems to range between US$79-99.  The adjective tinctorious (from the noun tincture) dates from the late eighteenth century and appears first to have been used of colorful plants.  Even in horticulture it has become rare but an echo survives in the Dendrobates Tinctorius, a frog much prized by collectors and photographers for its striking colors and patterns.  Unsurprisingly referred to by the standard abbreviation “tincs”, Dendrobates Tinctorius is one of the largest species of poison dart frogs, although in global terms still hardly large, the largest some 2 inches (50 mm) length. They are native to the rainforests of South America and appear in dramatic color combinations including hues of blue, black, yellow and orange but safely can be kept by hobbyists because in captivity they're not poisonous, the toxicity in the wild by virtue of their preferred diet of small invertebrates, not consumed in a captive environment.  Prices of adults in the most desired color mixes can exceed US$200.

Although prized by batrachophiles (frog enthusiasts) and giggers (those who collect or hunt wild frogs (by hand for those wanting live specimens; others resorting usually to a pronged spear), the Dart frog mostly had been obscure amphibians until in February 2026 a collective statement by the intelligence agencies of four European nations (France, Germany the Netherlands, Sweden & the UK) released the results of an inquiry which found Russian opposition leader Alexei Navalny (1976-2024) had been murdered by use of a deadly toxin found in the skin of Ecuadorian dart frogs (epibatidine).  The investigators concluded the murder was committed by an agent or agents of the Russian state, Mr Navalny dying while imprisoned in a remote Arctic penal colony where he was serving a 19-year sentence; tissue samples from his body were secured prior to his burial and it was these which were analysed in Western laboratories.  A statement from the British government added that as well as the “barbaric” assassination, the use of a toxin was a “…flagrant violation by Russia of the CWC” (chemical weapons convention) and it would be lodging a report with the OPCW (Organisation for the Prohibition of Chemical Weapons).

Alexei Navalny (standing, centre) in a screen capture from CCTV footage of a court session, IK-2 penal colony, Vladimir region, Russia, February, 2022.

Stating what was, given Mr Navalny’s incarceration in the arctic, the obvious, the statement made the point: “Only the Russian state had the means, motive and opportunity to deploy this lethal toxin to target Navalny during his imprisonment in a Russian penal colony in Siberia, and we hold it responsible for his death.  Epibatidine can be found naturally in dart frogs in the wild in South America.  Dart frogs in captivity do not produce this toxin and it is not found naturally in Russia.  There is no innocent explanation for its presence in Navalny’s body. Additionally, it was noted each little frog had in its skin little more than a microgram of the toxin and a laboratory would need to have harvested hundreds of them to extract the volume sufficient to produce a deliverable dose of sufficient potency to kill a healthy, adult human.  Even had Mr Navalny been permitted to keep in his cell a colony of a dozen Dart frogs which he force-fed with small invertebrates, they’d not have posed a danger.  Although the KGB (including its precursor organizations and various franchises within the Warsaw Pact) once favored traditional murder weapons (clubs, bullets, ice axes, daggers, bare hands etc), of late they’ve gone more “high tech” and as well frog toxins, use has extended to (1) ricin (a highly toxic protein derived from castor beans) delivered by a dart gun (disguised as a umbrella!) which was used to kill dissident author Georgi Markov (1929-1978), (2) radioactive polonium served (in a cup of tea!) to defector Alexander Litvinenko (1962-2006) and (3) the Russian-developed Novichok (nerve agent) although former KGB spy Sergei Skripal (b 1951) survived that attempt on his life.  All three of those incidents occurred in London, the KGB liking to remind dissidents, defectors and other trouble-makers that they’re safe nowhere.  Despite the history, the Kremlin continued to maintain Mr Navalny died from “natural causes” and claimed the allegations were just: “A planted story and attempt by Western governments to distract attention from their many problems.”  The denial from Moscow was treated by western analysts as a tacit admission of guilt on the basis of the Cold War dictum: “Something cannot be thought proven true until the Kremlin denies it.

Replica of “Umbrella gun” produced by the KGB’s Moscow laboratory, 1978, International museum of spying.  One of the most commonly carried accessories in London, a “special” umbrella was an ideal murder weapon in that city, able to be “hidden in plain sight” whereas an an ice axe might be conspicuous.  This is one of the best-known dart guns.    

Russians famously enjoy dark humor but it’s not known if they chose to deliver the Dart Frog toxin with a dart gun although that would have been a fitting nod to “special umbrella” used in 1978 to target Georgi Markov as crossed the Thames, walking across Waterloo Bridge; there was a time when the notion of “dart frog juice in a dart gun” would much have pleased those in the Lubyanka but perhaps things are now more corporatized.  However it was done, the death of Alexei Navalny is one chapter in the long (and still growing) list of assassinations by the Russian or Soviet State and, as a piece of applied statecraft, the practice dates from at least Russia's early monarchical era which began in the 860s.  It was however under comrade Stalin (1878-1953; Soviet leader 1924-1953) that state-sanctioned murder was undertaken on an industrial scale (indeed, so large was the death toll most historians estimate the body-count only by rounding (usually up) to the closest million) and of the many victims, the most celebrated remains comrade Leon Trotsky (1879-1940; founder of the Fourth International), once one of Stalin’s fellow Bolshevik revolutionaries.

Comrade Stalin (left), an ice axe (centre) and comrade Trotsky (right).  The standard-length ice axe is ideal for its intended purpose but to large easily to be concealed under clothing and too cumbersome to comfortably to wield in a confined space.  

Even by the standards of political assassinations (a long tale of the brutal and bizarre), the events surrounding Trotsky’s death were unusual.  Although, living in exile in Mexico, comrade Trotsky’s influence on those in the Soviet Union (or anywhere else) was negligible, not only was comrade Stalin a great hater who nursed his many grudges until circumstances permitted a good opportunity for vengeance but he also thought ahead; concerned Trotsky and his heretical writings might one day be a real threat, years before the assassin’s visit, he’d decided his erstwhile associate must die.  The NKVD had already succeeded in killing Trotsky’s son (imaginatively disguised as “medical misadventure” during a routine appendectomy) and, more dramatically, had decapitated his secretary in his Paris apartment but operations beyond Europe were more complex and the agent allocated the task was the Moscow-trained Spanish communist Ramón Mercader (1913–1978), then also living in exile in Mexico City under the pseudonym Frank Jacson.  Diligently watching his residence and researching the habits of his target, comrade Mercader posed as the lover of Trotsky's courier and was convincing enough to be welcomed into the impressively fortified villa on the city’s outskirts.  Either the NKVD’s training in such matters was first-rate or Mercader had a flair for the business because, after bringing Trotsky’s grandchildren presents and playing games with them in the garden, over the course of weeks, he became a valued house-guest, often engaging his intended victim in earnest discussions about politics and international affairs, careful always to ensure his host could assume the role of wise oracle.

Early on Tuesday, 20 August 1940, on the pretext of asking if an article he’d drafted was ready for publication, the assassin handed over the manuscript which Trotsky took to his desk and began reading, his back to the author.  Although also carrying a dagger and revolver, Mercader choose as the murder weapon the ice axe he’d be able to conceal under his raincoat by shortening it (sawing off half the wooden handle), his reasonable rationale being (1) it should be more effective than the knife and (2) it would be quieter than discharging the gun.  In seconds, Mercader drove the pick into the back of Trotsky’s skull and although the injury would prove mortal, it was not instantly fatal, the immediate aftermath described by the killer during a subsequent police interview: “[He] screamed in such a way that I will never forget it as long as I live. His scream was Aaaaa . . . very long, infinitely long and it still seems to me as if that scream were piercing my brain. I saw Trotsky get up like a madman.  He threw himself at me and bit my hand…  Mercader would likely have been beaten to death by Trotsky’s bodyguards but was saved by the dying man ordering them to stop because he wanted to have him admit his evil deed had been done on the orders of comrade Stalin.  The next day, in hospital, he succumbed to a traumatic brain injury but not before cursing Stalin as his killer.

Ten years after: rootless cosmopolitan comrade Trotsky (left) talking to comrade Stalin (right), Moscow, 1930 (left) and Mexican police showing the "sawn-off" ice axe used in the murder (right).

By the standards of NKVD “wet operations” (clandestine, “authorized” executions) the “Mexico business” was messy with (1) the assassin arrested, (2) the murder weapon taken as evidence, (3) the body not disposed of and (4) the cause of death certainly not able to be classed as “an accident”, “misadventure” or “natural causes”.  The suspect however did not implicate the NKVD, initially claiming he’d killed Trotsky over a dispute they were having on a doctrinal matter relating to Marxist interpretation and later changing the story to allege it was over something more personal; this he maintained while serving his 20 year sentence in a Mexico prison; Moscow denied having anything to do the matter, even expressing condolences to the family.  That was of course is an MRDA in the spirit of: “Something cannot be thought proven true until the Kremlin denies it” which, as the Alexei Navalny affair suggests, is a dictum which remains valid still in this century.  Still, analysts today conclude comrade Stalin may not have been wholly unhappy at the “botched” operation because (1) he had “plausible deniability” of involvement and (2) the murder made headlines around the word so those likely to be “trouble-makers” would know NKVD agents were capable of liquidating high-level, well-protected targets, well beyond the borders of the Soviet Union.  So there was a silver lining, unlike the later “botched” dispatch of dissident Saudi Arabian journalist Jamal Khashoggi (1958-2018) in the Saudi consulate in Istanbul, Türkiye.

Unannounced and for decades not revealed, comrade Stalin decorated comrade Mercader in absentia, presumably for “services to the state” although publicly he denounced him as a “dangerous Trotskyist”, disavowing any involvement in the crime.  After serving nearly all his sentence, Mercader was released, in 1961 returning to the Soviet Union after a brief sojourn in Cuba, then under new management following comrade Fidel Castro’s (1926–2016; prime-minister or president of Cuba 1959-2008) communist revolution.  In Moscow, the KGB presented him with the nation’s highest awards (Hero of the Soviet Union & the Order of Lenin), after which he enjoyed two decades odd of comfortable semi-retirement in a number of sinecures in the Ministry of Foreign Affairs.  It was only after dissolution of the Soviet Union in 1991 when, for a brief few years the state’s archives were open to Western researchers, that documents were discovered confirming the assassination had been a NKVD operation authorized “at the highest level in Moscow” (ie comrade Stalin signed the death warrant, his hand well-practiced at such things).

Tuesday, October 28, 2025

Cape & Cloak

Cape (pronounced keyp)

(1) A sleeveless garment of various lengths, fastened around the neck and falling loosely from the shoulders, worn separately or attached to a coat or other outer garment.

(2) The capa of a bullfighter.

(3) The act of caping.

(4) Of a matador or capeador during a bullfight, to induce and guide the charge of a bull by flourishing a capa.

(5) A piece of land jutting into the sea or some other large body of water; a headland or promontory

(6) In nautical use, of a ship said to have good steering qualities or to head or point; to keep a course.

(7) As The Cape (always initial capital letters), pertaining to the Cape of Good Hope or to (historically) to all South Africa.

(8) To skin an animal, particularly a deer.

(9) To gaze or stare; to look for, search after (obsolete).

1350–1400: From the (northern dialect) Middle English cap, from the Old English cāp, from the Middle French cape & Old Provençal capa, from the Vulgar Latin capum from the Latin caput (head) and reinforced in the sixteenth century by the Spanish capa, from the Late Latin cappa (hooded cloak).  A fork in the Late Old English was capa, & cæppe (cloak with a hood), directly from Late Latin.  In Japanese the word is ケープ (kēpu).  The sense of a "promontory, piece of land jutting into a sea or lake" dates from the late fourteenth century, from the Old French cap (cape; head) from the Latin caput (headland, head), from the primitive Indo-European kaput (head).  The Cape of Good Hope at the southern tip of Africa has been called the Cape since the 1660s, and sailors in 1769 named the low cloud banks that could be mistaken for landforms on the horizon, Cape fly-away.  The obsolete sense of gazing or staring at something & to look for or search after is from the Middle English capen (to stare, gape, look for, seek), from the Old English capian (to look), from the Proto-West Germanic kapēn.  It was cognate with the Dutch gapen, the German gaffen (to stare at curiously) and the Low German gapen (to stare); related to the Modern English keep.

Cardinal George Pell (1941-2023) in Cappa Magna (great cape) with caudatario (train-bearer).  The church's rituals vie with the Eurovison Song Contest and the Sydney Gay & Lesbian Mardi Gras for having the most variety in men's costuming.

Copes are one of many capes in the extensive wardrobe of Roman Catholic clerics and the highlight of any ecclesiastical fashion parade is the silk cappa magna.  Technically a jurisdictional garment, it’s now rarely seen and worn only in processions or when "in choir" (attending but not celebrating services).  Cardinals wear red and bishops violet and both cardinals and papal nuncios are entitled to a cappa magna of watered silk.  Well into the twentieth century, a cappa magna could stretch for nearly 15 metres, (50 feet) but Pius XII’s (1876-1958; pope 1939-1958) motu proprio (literally “on his own impulse”, essentially constitutionally the same as a royal decree which unilaterally creates law) Valde solliciti (1952) laid down that they should not be longer than 7m (23 feet) and later instructions from the Vatican banned them from Rome and curtailed their use elsewhere.  Valde solliciti translates literally as “very worried” and Pius in 1952 was clearly exactly that, concerned at complaints that the extravagance of the Church’s rituals was inappropriate at a time of such troubled austerity.  There was in 1952 still little sign of the remarkable post-war economic recovery which within a decade would be critiqued in Federico Fellini's (1920–1993) film La Dolce Vita (The Sweet Life, 1960).

Actor Anya Taylor-Joy (b 1996) in ankle-length, collared houndstooth cape with matching mini-skirt by Jonathan Anderson (b 1984; creative director of Christian Dior since 2025) over a sleeveless, white, button-down vest and black, stiletto pumps, Paris Fashion Week, October, 2025.

The car is a Rolls-Royce Silver Spirit (1980-1997), the first of the SZ Series platform which would serve the line until 2003.  The Silver Spirit (and the companion LWB (long wheelbase) variant the Silver Spur (1980-2000)) was mechanically little changed from the Silver Shadow (1965-1980) but with styling updated with hints from the still controversial Camargue (1975-1986), a somewhat ungainly two-door saloon designed by Pininfarina which, as an addition to the range which included the conceptually identical Corniche (under various names available since 1966), appeared to have no purpose other than being positioned as the “world’s most expensive car” but that was apparently enough; even in the troubled 1970s, there was a demand for Veblen products.

In the closet: The ensemble awaits.

There were nice touches in the cape, a highlight of the detailing the arpeggiating used for the hem.  In sewing, the arpeggiated stitch is a technique in hand-stitching that creates an invisible and durable finish by catching only a single thread from the main fabric with each stitch.  This demands the hem be folded, turning the garment inside out allowing a hand-held needle to form small, V-shaped stitches by piercing the seam allowance and then the main fabric.  For the necessary robustness to be achieved, the stitching is kept deliberately loose (preventing pulling which would distort the line) with the finished hem pressed and steamed further to conceal the stitch-work.  Obviously labor intensive and therefore expensive to implement, it’s used in garments where the most immaculate finish is desired and although it’s now possible partially to emulate the effect using machine-stitching, the fashion houses know that for their finest, the old ways are best.

Poetry in motion: The lovely Anya Taylor-Joy on the move, illustrating the way the fashion industry cuts its capes to provide a "framing effect" for the rest of the outfit.

Amusingly, although the industry is sensitive to the issue of cultural appropriation (and especially so if matters end up in court), the term “arpeggiated” was “borrowed” from music.  In music, arpeggiate describes the playing of a chord as an arpeggio (the notes of a chord played individually instead of simultaneously, moving usually from lowest to highest but the same word is used whether notes are rising or falling).  It was from the Italian arpeggiare (to play on a harp), the construct being arpa (harp) + -eggiare (a suffix from the Late Latin -izāre and used to form verbs from adjectives or nouns).  The connection comes from the harp’s sound being associated with flowing sequences of notes rather than “block sounds”.  So, the word can be understood as meaning “broken into a rhythmic or sequential pattern, note by note” and the use in sewing (as “arpeggiated stitch”) took the metaphorically from the musical term, referencing a series of short, regularly spaced diagonal or looped stitches that create a flowing, undulating pattern (ie a rising and falling wave-like progression rather than a static block).

Anya Taylor-Joy in cape, swishing around.

Capes often are spoken of as having an “equestrian look” and it’s true capes do have a long tradition on horseback, both in military and civilian use although in fashion the traditional cut of the fabric has evolved into something better thought of as a “framing effect” for what is worn beneath.  That differs from the more enveloping capes worn by those in professions as diverse as cavalry officers and nomadic sheep herders form whom a cape was there to afford protection from the elements and to act as barrier to the dust and mud which is a way of life in such professions.  On the catwalks and red carpets there’s not usually much mud thrown about (other than metaphorically when the “best & worst dressed” lists appear) and the cape is there just for the visual effect.  That effect is best understood on the move because a cape on its hanger is a lifeless thing whereas when on someone walking so it can flow, coming alive; models become expert in exploiting the billowing made possible by the “sail-like” behavior of the fabric when the fluid dynamics of air are allowed to do their stuff.  A skilled model can make a cape swish seductively.

Imelda Marcos (she of the shoes”, b 1929; First Lady of the Philippines 1965-1986, left) and General Augusto Pinochet (1915-2006; dictator of Chile 1973-1990) at the funeral of Generalissimo Francisco Franco (1892-1975; Caudillo of Spain 1939-1975), Plaza de Oriente, Madrid, Spain, 23 November, 1975.  Franco was something of a model for Pinochet in terms of approach to public administration (having tiresome people “disappeared” or taken outside and shot etc) but not so much in sartorial matters, the Caudillo never having shown much fondness for capes.

Franco’s body originally was interred in a granite and marble crypt beneath the basilica floor of Valle de los Caídos (Valley of the Fallen), a mausoleum & memorial site in the Sierra de Guadarrama mountain range close to Madrid, built by order of the Generalissimo at the end of the Spanish Civil War (1936-1939).  The vast structure, officially opened in 1959, was said the government to be a “national act of atonement” and symbol of reconciliation but controversies about the war and Franco’s subsequent dictatorship were only ever suppressed and in the decades after his death the political and legal manoeuvres to remove from public display all the many relics of the glorification of the victory and dictatorship gathered strength.  In October 2019, his remains were exhumed from the mausoleum and re-interred in the Mingorrubio Cemetery in El Pardo, this time in a family crypt, an event which much divided opinion.  The forces unleashed by the civil war and its decades-long aftermath remain a cleavage in Spanish society and political scientists expect the tensions to continue, even after the war passes from living memory.  In his last public speech a few weeks before his death, Franco had warned the country it remained threatened by a conspiracy involving “communists, left-wing terrorists and Freemasons”.

Cloak (pronounced klohk)

(1) A wrap-like outer garment fastened at the throat and falling straight from the shoulders.

(2) Something that covers or conceals; disguise; pretense.

(3) To cover with or as if with a cloak.

(4) To hide; conceal.

(5) In internet use, a text replacement for an IRC user's hostname or IP address, which makes the user less identifiable.

1175–1225: From the Middle English cloke, from the Old North French cloque, from the Old French cloche & cloke (traveling cloak) from the Medieval Latin cloca (travelers' cape), a variant of clocca (bell-shaped cape (literally “a bell”) and of Celtic origin, from the Proto-Celtic klokkos (and ultimately imitative).  The best known mention of cloak in scripture is in 1 Thessalonians 2:5: For neither at any time “vsed wee flattering wordes, as yee knowe, nor a cloke of couetousnesse, God is witnesse

The cloak was an article of everyday wear as a protection from the weather for either sex in Europe for centuries, use fluctuating but worn well into the twentieth century, a noted spike happening when revived in the early 1800s as a high-collared circular form fashion garment, then often called a Spanish cloak.  The figurative use "that which covers or conceals; a pretext" dates from the 1520s.  The adjectival phrase cloak-and-dagger is attested from 1848, said to be a translation of the French de cape et d'épée, as something suggestive of stealthy violence and intrigue.  Cloak-and-sword was used from 1806 in reference to the cheap melodramatic romantic adventure stories then published, a similar use to the way sword-and-sandals was used dismissively to refer to the many films made during the 1950s which were set during the Roman Empire.  The cloak-room (or cloakroom), "a room connected with an assembly-hall, opera-house, etc., where cloaks and other articles are temporarily deposited" is attested from 1827 and later extended to railway offices for temporary storage of luggage; by the mid twentieth century it was, like power room and bathroom, one of the many euphemisms for the loo, WC, lavatory.  The undercloak was a similar, lighter garment worn for additional protection under the cloak proper.

The cape and the coat worn as cloak.  A caped Hermann Göring (left), photographed on the way to the lavish celebrations the state staged (and paid for) to mark his 45th birthday, Berlin, January, 1938 (left) and in sable-trimmed coat with Luffwaffe General Paul Conrath (1896–1979), Soviet Union, 1942 (right). Worn over the shoulders, a coat becomes cloak-like.

Ruthless, energetic and dynamic in the early years of Nazi rule, Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) was the driving force in the build-up of the Luftwaffe (the German air force) but as things went from bad to worse as the fortunes of war changed, he became neglectful of his many responsibilities, described in 1945 upon his arrival at the jail attached to the Palace of Justice at Nuremberg as “a decayed voluptuary”.  However, he never lost his love for military decorations & uniforms, designing many of his own to suit the unique rank of Reichsmarschall (a kind of six-star general or generalissimo) he held including some in white, sky blue and, as the allied armies closed in on Germany, a more military olive green.  He became fond of capes (all that material can conceal corpulence) and had a number tailored to match his uniforms, Count Galeazzo Ciano (1903–1944; Italian foreign minister 1936-1944) in January 1942 noting of Göring’s visit to Rome: “As usual he is bloated and overbearing”, two days later adding “We had dinner at the Excelsior Hotel, and during the dinner Goering talked of little else but the jewels he owned.  In fact, he had some beautiful rings on his fingers… On the way to the station he wore a great sable coat, something between what automobile drivers wore in 1906 and what a high-grade prostitute wears to the opera.

As well as his vividly entertaining diaries, Ciano was noted for having married the daughter of Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943).  The marriage was certainly a good career move (the Italians would joke of the one they called “ducellio”: “the son-in-law also rises”) although things didn’t end well, Il Duce having him shot (at the insistence of Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945), something which over the years must have drawn the envy of many a father-in-law (a sentiment was expressed by Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) who thought his daughters' tastes in men sometimes appalling).  Like the bemedaled Reichsmarschall, the count was also a keen collector of gongs and in 1935, during the Second Italo-Ethiopian War (the last war of conquest in the era of European colonialism which even at the time seemed to many an embarrassing anachronism), Ciano had commanded the Regia Aeronautica's (Royal Air Force) 15th Bomber Flight (nicknamed La Disperata (the desperate ones)) in air-raids on tribal forces equipped with only primitive weapons, being awarded the Medaglia d'argento al valor militare (Silver Medal of Military Valor), prompting some to observe he deserved a gold medal for bravery in accepting a silver one, his time in the air having but barely & briefly exposed him to risk.

The difference

Lindsay Lohan in Lavish Alice striped cape, June 2015.

There probably was a time when the distinction between a cape and a cloak was well defined and understood but opportunistic marketing practices and a declining use of both styles has seen the meaning blur and, in commerce, perhaps morph.  Described correctly, there are differences, defined mostly by length, style and function and what they have in common is that while there are layered versions, generally both are made from one sheet of fabric and worn draped over the shoulders, without sleeves.  The most obvious difference is in length, capes in general being much shorter than cloaks, the length of a cape usually anywhere from the top of the torso to the hips and rarely will a cape fall past the thighs.  By comparison, even the shortest cloak falls below the knees, many are calf-length at minimum and the most luxurious, floor-length.

Yves Saint Laurent Rive Gauche full-length hooded cloak in black velvet.

Stylistically, cloaks and capes differ also in aesthetic detail.  Capes typically cover the back and are open and loose in the front, fastening around the neck with a tiny hook or cords that tie together, although in recent years it’s become fashionable to tailor capes with button or zipper closures down the front.  Traditionally too, capes have tended to be more colorful and embellished with decoration, reflecting their origin as fashion items whereas the history of the cloak was one of pure functionally, protection from the weather and the dirt and grime of life.  Some capes even come with a belt looped through them, creating the look of a cinched waist with billowing sleeves.  Cloaks cover the front and back.  They are more streamlined, fitted and tailored than capes and, because of the tailoring, in earlier times, a small number of women in society sometimes wore cloaks styled like a dress, adorned with belts, gloves and jewelry.  This is rarely done today, but a cloak is still dressier than a cape or coat and can be stunning if worn over an evening gown.  As that suggests, the cloak could function as a social signifier of rank or wealth; although worn by all for warmth, a garment of made from an expensive material or lined with silk was clearly beyond what was needed to fend off mud from the street.

Audrey Hepburn (1929–1993) in calf-length cloak over taffeta.

Because of its origins as something protective, hoods are more commonly seen on cloaks; rare on capes which may have a collar for added warmth bit often not even that.  It’s value as a fashion piece aside, a cape’s main function is to cover the back of the wearer, just for warmth.  Because a cape is much shorter than a cloak, slit openings for the arms are not always necessary because arms easily pass through the bottom opening whereas a cloak usually has slit openings for the arms since the length demands it.  Cloaks were supplanted by coats in the post-war years and exist now mostly as a high-fashion pieces, capes in a similar niche in the lower-end of the market.

The cloak as workwear

Cloak and axe of Giovanni Battista Bugatti (1779–1869), official executioner for the Papal States 1796-1864, Criminology Museum of Rome.  Woodcuts and other depictions from the era suggest the blood-red cloak wasn't always worn during executions. 

Giovanni Battista Bugatti began his career at a youthful 17 under Pius VI (1717–1799; pope 1775-1799) and diligently he served six pontiffs before being pensioned off by Pius IX (1792–1878; pope 1846-1878), his retirement induced not by the Holy See losing enthusiasm for the death penalty because one Antonio Balducci succeeded him in the office which fell into disuse only with the loss of the Papal States (756-1870; a conglomeration of territories in the central & northern Italian peninsula under the personal sovereignty of the pope), after the unification of Italy.  Unlike his illustrious predecessor, history has recorded little about Signor Balducci although it’s known he performed his final execution in 1870.  Signor Bugatti was by far the longest-serving of the Papal States’ many executioners and locals dubbed him Mastro Titta, a titular corruption of maestro di giustizia (master of justice) and his 69 year tenure in his unusual role can be accounted for only by either (1) he felt dispatching the condemned a calling or (2) he really enjoyed his work, because his employers were most parsimonious: he received no retainer and only a small fee per commission (although he was granted a small, official residence).  His tenure was long and included 516 victims (he preferred to call them “patients”, the term adopted also by Romans who enjoyed the darkly humorous) but was only ever a part-time gig; most of his income came from his work as an umbrella painter (a part of the labour market which exists still in an artisan niche).  Depending on this and that, his devices included the axe, guillotine, noose or mallet while the offences punished ranged from the serious (murder, conspiracy, sedition etc) to the petty (habitual thieves and trouble-makers).

Cardinal Pietro Gasparri (1852–1934; Cardinal Secretary of State 1914-1930, left) and Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943, right), signing the Lateran Treaty, Lateran Palace, Rome, 11 February 1929.

Although as early as 1786 the Grand Duchy of Tuscany became the first Italian state to abolish the death penalty (torture also banned), the sentence remained on the books in the Papal States; then as now, the poor disproportionately were victims of the sanction, similar (or worse) crimes by the bourgeoisie or nobility usually handled with less severity, “hushed-up” or just ignored, an aspect in the administration of justice not unknown in modern, Western liberal democracies.  With the loss of the Papal States, the pope’s temporal domain shrunk to little more than what lay around St Peter’s Square; indeed between 1870 and the signing of Lateran Treaty (1929) after which the Italian state recognized Vatican City as a sovereign state, no pope left the Vatican, their status as self-imposed prisoners a political gesture.  The Lateran treaty acknowledged the validity of the sentence (Article 8 of the 1929 Vatican City Penal Code stating anyone who attempted to assassinate the pope would be subject to the death penalty) although this provision was never used, tempted though some popes must have been.  Paul VI (1897-1978; pope 1963-1978) in 1969 struck capital punishment from the Vatican's legal code and the last reference to the sanction vanished in 2001 under Saint John Paul II (1920–2005; pope 1978-2005).  Although some states are believed to have (secretly) on the payroll one or more "executioners", retained to arrange assassinations when required, it's not believed the Vatican still has one.