Tincture

Tincture (pronounced tingk-cher)

(1) In pharmacology, a solution of alcohol or of alcohol and water, containing animal, vegetable, or chemical drugs (an alcohol solution of a non-volatile medicine (obsolete)).

(2) A slight infusion, as of some element or quality; the dipping of something into a liquid to gain to color.

(3) A trace; a smack or smattering; tinge.

(4) In heraldry, any of the colors, metals, or furs used for the fields, charges etc, of an escutcheon or achievement of arms.

(5) A pigment or other substance that colours or dyes; specifically, a pigment used as a cosmetic (obsolete).

(6) To impart a tint or color to; tinge.

(7) To imbue or infuse with something.

(8) A slight flavour, aroma, or trace

(9) In medicine as "tincture of steel", an alcoholic solution of the chloride of iron (obsolete).

(10) A small flaw, an imperfection; a blemish or stain (now rare except as a literary device).

(11) In Christianity, a synonym of baptism (based on the idea of being "dipped into or sprinkled with Holy Water". 

(12) A (small) alcoholic drink (used humorously).

(13) In alchemy, an immaterial substance or spiritual principle which was thought capable of being instilled into physical things; also, the essence or spirit of something; a material essence thought to be capable of extraction from a substance.

(14) In chemistry, the part of a substance thought to be essential, finer, and/or more volatile, which could be extracted in a solution; also, the process of obtaining this.

1350-1400: From the Late Middle English tincture (dye, pigment; colour, hue, tint; process of colouring or dyeing; medicinal ointment or salve (perhaps one discolouring the skin); use of a medicinal tincture; (alchemy) transmutation of base metals into gold; ability to cause such transmutation; substance supposed to cause such transmutation)), the construct being the Latin tīnct(ūra) (act of dyeing) + the Middle English -ure (the suffix indicating an action or a process and the means or result of that action or process).  The construct of tīnctūra was tīnc(tus) (coloured, tinged; dipped in; impregnated with; treated”) + -tūra (the suffix forming action nouns expressing activities or results) while tīnctus was the perfect passive participle of tingō (to colour, dye, tinge; to dip (in), immerse; to impregnate (with); to moisten, wet; to smear), ultimately from the primitive Indo-European teng- (to dip; to soak), (source also of the Old High German dunkon (to soak) and the Greek tengein (to moisten).  It was cognate with the Ancient Greek τέγγω (téngō) and from the Latin Modern English has picked up tint, taint and tainture (an obsolete synonym of tincture).  Tincture is a noun & verb, tinct, tincturation, tincturing & tinction are nouns, verbs & adjectives, tinctured is a verb & adjective, tinctorial & tinctorious are adjectives and tinctorially is an adverb; the noun plural is tinctures.  The noun tinctura is listed by most dictionaries as obsolete but it is still in use poetically.

The fifteenth century use by apothecaries to refer to medicinal ointments (the assumption by historians this use was associated particularly with those used to discolor the skin or from being imbued with the essential principles of the substance).  In pre-modern medicine the meaning lingered, the idea of a tincture being a “solution of medicine in a mixture of alcohol” recorded in the professional texts in the 1640s.  In fashion, parchment preparation and then still rare applications such as wallpaper, the word was used to describe a “process of coloring" from early in the fifteenth century.  The verb was derived from the noun and came into use in the 1610s in the sense of “imbue with color”.  Tincturation (preparation of a tincture) was in use by the mid nineteenth century while tinction has been used to mean “preparation for dyeing, coloring matter ready for use” since the 1890s.

Not following the rules: The Lohan family crest.

In heraldry, the “rule of tincture” (described as “a design philosophy”) is the convention “metal should not be put on metal, nor colour on colour”.  There appears to be no historical basis for the emergence of this rule in the early fifteenth century and the favored modern explanation is that imposing it simply made it easier for the craftsmen of the era, it being technically challenging to inlay metals in metals, the practical point being a high wastage rate of expensive materials (the client paying only for the finished product).  However, the rule took hold rather in the manner the strictures in some religions (such as prohibitions on the consumption of shellfish or pig products) began as public health measures in the pre-refrigeration age endured to become orthodox articles of faith.  Centuries later, although the application of the “rule” began to be relaxed, such was the enduring influence that artisans' guilds formally codified a list of “exemptions” from the rule.

Meaning shift

The historic meaning of tincture (a synonym for dye or pigment) is now entirely obsolete; a tincture is now a subtle shade, tint or variation of an original colour or a smattering of another.  It can be applied to any field vaguely analogous such as tastes or aromas and can be used pejoratively to suggest someone’s knowledge of something might be less than advertised.  It has also found a niche is recipes printed in up-market publications as a word to use instead of "hint".

Lindsay Lohan tinctures: copper and auburn variations of red.

The Dendrobates tinctorius “Giant Orange” (the common name the "Dyeing Poison Dart Frog" (based on the early belief natives used brightly colored frogs to dye feathers & fabrics)).  Described by retailers as a “great beginner frog” (the reason for that presumably understood by collectors) and “best kept in pairs”, the RRP (recommended retail price) is US$59.99.

The adjective tinctorious 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 usually as "tincs" (the standard abbreviation of "tincture") Dendrobates Tinctorius are 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 blues, blacks, yellows and oranges.  They can safely be kept by hobbyests because in capativity they're not poisonous, their 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$120.

Gore

Gore (pronounced gawr or gohr)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Saint

Saint (pronounced seynt)

(1) Any of certain persons, said to be of exceptional holiness of life, formally recognized as such by churches by act of canonization (with doctrinal and procedural differences between denominations).

(2) In secular use, figuratively, a person of extraordinary virtue or who performed acts of extraordinary virtue (often as secular saint).

(3) As patron-saint, the founder, sponsor, inspiration or patron, as of a movement or organization (used formally by churches and informally otherwise).

(4) A religious icon or relic (archaic).

Pre 1000; A borrowing from the Old French, it existed in English as seint, sainct, seinct, sanct & senct, derived from the Latin sānctus (sacred; holy), adjectival use of past participle of sancīre (to hallow; to consecrate), the construct being sanc (akin to sacer (sacred)) + tus (past participle suffix).  The French borrowing replaced the Old English sanct which had been drawn from the Latin.  Variations were adopted by most Germanic languages; it was sankt in the Old Frisian, sint in Dutch and sanct in German; the Italian is santa.  As a verb in the sense of "to enroll (someone) among the saints", use was common by the late fourteenth century and the adjectival forms saintly & saintliness emerged in the 1620s.  Universal abbreviation is St and now often without full-stop, a welcome reduction in clutter.  One quirk in English is the name St John (Christian or surname) is properly pronounced sin-jin.

Originally an adjective prefixed to the name of a canonized person, by circa 1300 it had become a noun.    Saint Bernard, to describe the breed of mastiff dogs, was used first in 1839, the name adopted because the monks of the hospice of the pass of St Bernard (between Italy and Switzerland) sent them to rescue snowbound travelers.  The term secular-saint remains in wide use, the first known example being St Elmo's Fire (named for the patron saint of Mediterranean sailors, a corruption of the name of St Erasmus (fuoco di Sant'Elmo in the Italian), an Italian bishop martyred in 303) in the 1560s.  The phenomenon of weather is known also as corposants or corpusants, from the Portuguese corpo santo (holy body), and was described as long ago as Antiquity, mentioned in Os Lusíadas (The Lusiads (1572), a Portuguese epic poem written by Luís Vaz de Camões (circa 1524-1580) and earlier alluded to by the Greek poet Xenophanes of Colophon (circa 570–circa 478 BC).

The Ecstasy of Saint Teresa

Unlike many of the buildings usually included in the standard tourist itinerary of Rome, the Cornaro Chapel (1626), at Santa Maria della Vittoria, close to the Repubblica metro station, is tiny.  In this intimate space is an elevated aedicule on which sits the little church’s famous installation, L'Estasi di Santa Teresa (The Ecstasy of Saint Teresa; sometimes called The Transverberation of Saint Teresa), a sculptural group in white marble, carved by Gianlorenzo Bernini (1598-1680) in 1652.

The interior of the church, also the work of Bernini, is sumptuously decorated, gilded stucco and multi-colored marble arranged so that barely a surface or crevice is left naked, this lushness the best setting imaginable for this masterpiece of high Roman baroque.  Bernini dismissed the suggestion he use an enclosed chapel and instead presented his composition as a theatre, cleverly lit by a window hidden by the pediment with, on the flanking walls, two opera-boxes containing sculptured representations of the family of his patron, the Venetian Cardinal Federico Cornaro (1579–1653). 

Bernini had reason to be grateful to the cardinal.  The work was completed during the pontificate of Innocent X (1574–1655; Giovanni Battista Pamphilj, pope 1644-1655) and Bernini had been the court architect of the previous pope, Urban VIII (circa 1568–1644; Maffeo Barberini, pope 1623-1644), regarded by Innocent as profligate.  With papal patronage withdrawn, Bernini was again an artist for hire and the cardinal granted the commission.  Teresa of Ávila, the Spanish founder of the Discalced Carmelite nuns, is depicted seated on clouds as if on a bed.  She is captured during the ecstasy she described in her mystical autobiography, experiencing an angel piercing her heart with a dart of divine love, causing both immense joy and pain.  Considering the long tradition of statuary in the Roman Catholic Church, that of Saint Teresa is quite a departure, her contorted posture and the ambiguous smile of the angel lending the scene a rare mix of passion and voluptuousness.  It’s reputed also to be the only Roman Catholic church with a painting depicting a battle scene above the alter and soldiers instead of angels holding up the organ, a legacy of the celebrations at the end of the Thirty Years War (1618-1648).

Saint Teresa in white marble, 1652 (left) and Lindsay Lohan resting in a Cadillac Escalade, Los Angeles, May 2007 (right).  The striking similarity between the two saintly souls inspired one of 2007's most widely-shared memes.

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.

Making smoking sexy: Lindsay Lohan enjoying the odd dart.

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 vehicles which SF (science fiction) authors speculated would be used for the interplanetary travel some tried to convince their readers was not far off.  The Dart was first shown with a retractable hardtop but when the 1956 show season was over, it was shipped back to Carrozzeria Ghia in Turin to be fitted with a more conventional convertible soft top.  After another trans-Atlantic crossing after the end of the 1957 show circuit (where it'd been displayed as the 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) 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 actually quite restrained and compared with many, the Darts have 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 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 CD (coefficient of drag) of 0.17 state of the art even in 2023.  Some engineers doubt it would return such a low number under modern testing but it doubtlessly 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 although neither represented quite the advance in aerodynamics Chrysler had achieved all those years ago although the Lamborghini Diablo 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) never quite managed, disappointing some.

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 operation was closed the next year.  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 which was branching out into the sports car market.  Their sports car was called 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 put the Dart on show 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 lineup Daimler had for years offered, the company had chosen the pleasingly alliterative “Dart” as its name, hoping it would convey the sense of something agile and fast.  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 Dart proposal to Chrysler for approval and 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) do imply much the same thing but ultimately the original was preferred.

Things get worse: The 1962 Dodge Dart looked truly bizarre; things would sometimes be stranger than this but not often.

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 Australian versions are pictured, a 1971 VG VIP sedan (left) and a 1970 VG Regal 770 Hardtop (right).  

If Daimler had their problems with the Dart, so did Dodge.  For the 1961 model year, Dodge actually down-sized the “big” range, a consequence of some industrial espionage which misinterpreted Chevrolet’s plans.  Sales suffered because the new Darts were perceived as a class smaller than the competition, thus offering “less metal for the money”.  This compelled Chrysler to create some quick and dirty solutions to plug the gap but the damage was done and it was another model cycle before the ranges successfully were 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, enjoying much 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 the 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 although the platform remained the same.

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.  Seeking to avoid any 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 warning: What not to do, lest one's grape block should turn to wine.

Ecstasy

Ecstasy (pronounced ek-stuh-see)

(1) Rapturous delight.

(2) An overpowering emotion or exaltation; a state of sudden, intense feeling.

(3) Mental transport or rapture from the contemplation of divine things.

(4) A slang term for the drug Methylenedioxymethamphetamine (MDMA) (often initial capital letter).

(5) A state of prophetic (especially poetic) inspiration (archaic).

1350–1400: From the Middle English extasie, from the Old & Middle French extasie (ecstasy, rapture), from the Medieval Latin extasis, from the Ancient Greek ékstasis (entrancement, astonishment, insanity; any displacement or removal from the proper place" (in the New Testament "a trance")) from existanai (displace, put out of place, drive out of one's mind).  The construct of ékstasis was ek- (ec-)- + stásis. The construct of existanai was ex- (out) + histanai (to cause to stand) from the primitive Indo-European root sta- (to stand, make or be firm).  The  verbs ecstatize (1650s), ecstasiate (1823), ecstasize (1830) are extinct and the spellings ecstacy, exstacy, exstasy, extacy & extasy are all obsolete.  Ecstasy is a noun & verb, ecstatical is an adjective, ecstatically is an adverb, ecstatic is a noun & adjective and ecstaticize, ecstaticized & ecstaticizing are verbs; the noun plural is ecstasies.

Lindsay Lohan and her Lawyer in court, Los Angeles, December 2011.

The adjectival use seems first to have emerged in the 1590s in the sense of "mystically absorbed" (from the Ancient Greek ekstatikos (unstable, inclined to depart from) & ekstasis, and something like the familiar modern meaning "characterized by or subject to intense emotions" is from 1660s, used by writers to describe mystical experiences, states “…of rapture which stupefied the body while the soul contemplated divine things".  That meaning shift to "exalted state of good feeling" seems to have been in general use early in the seventeenth century.  However, although now almost exclusively associated with feelings of exaggerated pleasure, it wasn’t always so, once associated in religious use with feelings anything but and there are those today for whom pain is an essential part of their ecstatic experience.  It’s a niche market.

Expert advice.  Lindsay Lohan confirmed Ecstasy is better than cocaine.

The slang use of ecstasy for the drug methylendioxymethamphetamine (MDMA) dates from 1985.  Taken as a pill (which can include other drugs as active ingredients), MDMA attracted slang including E, E-Bomb, Ekkie, Dancing Shoes, Love Drug, Love Potion, Molly, XTC, X, Bean Drug & Disco Biscuits.  One interesting footnote to emerge from studies of its use was that young women punctilious in checking supermarket labels to monitor their intake of fat, salt & sugar, seemed remarkably trusting of drug dealers offering pills.  Another phenomenon in the marketing of MDMA was the use of corporate trademarks, stamped onto the pills; it’s said Mitsubishis were very popular.  One interesting consensus which seemed to emerge from users that if enjoying a lollypop after MDMA, the best flavor was lemon.

Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022), House of Representatives, Canberra, ACT, Australia, February 2018.

The Ecstasy of Saint Teresa

Unlike many of the buildings usually included in the standard tourist itinerary of Rome, the Cornaro Chapel (1626), at Santa Maria della Vittoria, close to the Repubblica metro station, is tiny.  In this intimate space is an elevated aedicule on which sits the little church’s famous installation, L'Estasi di Santa Teresa (The Ecstasy of Saint Teresa; sometimes called The Transverberation of Saint Teresa), a sculptural group in white marble, carved by Gianlorenzo Bernini (1598-1680) in 1652.

The interior of the church, also the work of Bernini, is sumptuously decorated, gilded stucco and multi-colored marble arranged so that barely a surface or crevice is left naked, this lushness the best setting imaginable for this masterpiece of high Roman baroque.  Bernini dismissed the suggestion he use an enclosed chapel and instead presented his composition as a theatre, cleverly lit by a window hidden by the pediment with, on the flanking walls, two opera-boxes containing sculptured representations of the family of his patron, the Venetian Cardinal Federico Cornaro (1579–1653). 

Bernini had reason to be grateful to the cardinal.  The work was completed during the pontificate of Innocent X (1574–1655; Giovanni Battista Pamphilj, pope 1644-1655) and Bernini had been the court architect of the previous pope, Urban VIII (circa 1568–1644; Maffeo Barberini, pope 1623-1644), regarded by Innocent as profligate.  With papal patronage withdrawn, Bernini was again an artist for hire and the cardinal granted the commission.  Teresa of Ávila, the Spanish founder of the Discalced Carmelite nuns, is depicted seated on clouds as if on a bed.  She is captured during the ecstasy she described in her mystical autobiography, experiencing an angel piercing her heart with a dart of divine love, causing both immense joy and pain.  Considering the long tradition of statuary in the Roman Catholic Church, that of Saint Teresa is quite a departure, her contorted posture and the ambiguous smile of the angel lending the scene a rare mix of passion and voluptuousness.  It’s reputed also to be the only Roman Catholic church with a painting depicting a battle scene above the alter and soldiers instead of angels holding up the organ, a legacy of the celebrations at the end of the Thirty Years War (1618-1648).

Saint Teresa in white marble, 1652 (left) and Lindsay Lohan resting in a Cadillac Escalade, Los Angeles, May 2007 (right).  The striking similarity between the two saintly souls inspired one of 2007's most widely-shared memes.