Pouch

Pouch (pronounced pouch)

(1) A bag, sack or similar receptacle, especially one for small articles or quantities and historically closed with a drawstring although in modern use zips and other fasteners are common.

(2) A small, purse-like container, used to carry small quantities of cash.

(3) A bag for carrying mail.

(4) In manchester, as “pillow pouch”, an alternative name for a pillowslip or pillowcase (archaic).

(5) As “diplomatic pouch”, a sealed container (anything from an envelope to a shipping container) notionally containing diplomatic correspondence that is sent free of inspection between a foreign office and its diplomatic or consular posts abroad or between such posts.

(6) As “posing pouch”, a skimpy thong (G-string) worn by male strippers, bodybuilders and such; known also as the “posing strap”; within the relevant fields, now an essential Instagram accessory.

(7) In the industrial production of food, as retort pouch, a food packaging resistant to heat sterilization in a retort, often made from a laminate of flexible plastic and metal foils.

(8) In military use, a container (historically of leather) in the form of either a bag or case), used by soldiers to carry ammunition.

(9) Something shaped like or resembling a bag or pocket.

(10) In physics, as “Faraday pouch”, a container with the properties of a Faraday cage.

(11) A pocket in a garment (originally in Scots English but lade widely used by garment manufacturers).

(12) In nautical design, a bulkhead in the hold of a vessel, to prevent bulk goods (grain, sand etc) from shifting (a specialized form of baffle).

(13) A baggy fold of flesh under the eye (more commonly as “bags under the eyes”).

(14) In zoological anatomy, a bag-like or pocket-like part; a sac or cyst, as the sac beneath the bill of pelicans, the saclike dilation of the cheeks of gophers, or the abdominal receptacle for the young of marsupials.

(15) In pathology, an internal structure with certain qualities (use restricted to those fulfilling some functional purpose): any sac or cyst (usually containing fluid), pocket, bag-like cavity or space in an organ or body part (the types including laryngeal pouch, Morison's pouch, Pavlov pouch & Rathke's pouch).

(16) In botany, a bag-like cavity, a silicle, or short pod, as of the “shepherd's purse”.

(17) In slang, a protuberant belly; a paunch (archaic and probably extinct).

(18) In slang, to pout (archaic and probably extinct).

(19) In slang, to put up with (something or someone) (archaic and probably extinct).

(20) To put into or enclose in a pouch, bag, or pocket; pocket.

(21) To transport a pouch (used especially of a diplomatic pouch).

(22) To arrange in the form of a pouch.

(23) To form a pouch or a cavity resembling a pouch.

(24) In zoology, of a fish or bird, to swallow.

1350–1400: From the Middle English pouche & poche, from the Old Northern French pouche, from the Old French poche & puche (from which French gained poche (the Anglo-Norman variant was poke which spread in Old French as “poque bag”), from the Frankish poka (pouch) (similar forms including the Middle Dutch poke, the Old English pohha & pocca (bag) and the dialectal German Pfoch).  Although documented since only the fourteenth century, parish records confirm the surnames “Pouch” & “Pouche” were in use by at least the late twelfth and because both names (like Poucher (one whose trade is the “making of pouches”)) are regarded by genealogists as “occupational”, it’s at least possible small leather bags were thus describe earlier.  In the 1300s, a pouche was “a bag worn on one's person for carrying things” and late in the century it was used especially of something used to carry money (what would later come to be called a “coin purse” or “purse”).  The use to describe the sac-like cavities in animal bodies began in the domestic science of animal husbandry from circa 1400, the idea adopted unchanged when human anatomy became documented.  The verb use began in the 1560s in the sense of “put in a pouch”, extended by the 1670s to mean “to form a pouch, swell or protrude, both directly from the noun.  The Norman feminine noun pouchette (which existed also as poutchette) was from the Old French pochete (small bag).  Surprisingly, it wasn’t picked up in English (a language which is a shameless adopter of anything useful) but does endure on the Channel Island of Jersey where it means (1) a pocket (in clothing) and (2) in ornithology the Slavonian grebe, horned grebe (Podiceps auritus).  Pouch is a noun & verb, pouchful & poucher are nouns, pounching is a verb, pouchy is an adjective and pouched is a verb & adjective; the noun plural is pouches.  The organic pocket in which a marsupial carries its young is known also as both the marsupium & brood pouch, the latter term also used of the cavity which is some creatures is where eggs develop and hatch.

Diplomatic pencil pouch.

The Vienna Convention on Diplomatic Relations (UNVCDR; United Nations (UN) Treaty Series, volume 500, p 95) was executed in Vienna on 18 April 1961, entering into force on 24 April 1964.  Although the terminology and rules governing diplomatic relations between sovereign states had evolved over thousands of years, there had been no systematic attempt at codification until the Congress of Vienna (1814-1815), held to formalize the political and dynastic arrangements for post-Napoleonic Europe.  There were also later, ad-hoc meetings which dealt essentially with administrative detail (some necessitated by improvements in communication technology) but it was the 1961 convention which built the framework which continues to underpin the diplomatic element of international relations and is little changed from its original form, making it perhaps the UN’s most successful legal instrument.  With two exceptions, all UN member states have ratified the UNVCDR; the two non-signatories are the republics of Palau and South Sudan.  It’s believed the micro-state of Palau remains outside the framework because it has been independent only since 1994 and constitutionally has an unusual “Compact of Free Association” arrangement with the US which results in it maintaining a limited international diplomatic presence.  The troubled West African state of South Sudan gained independence only in 2011 and has yet to achieve a stable state infrastructure, remaining beset by internal conflict; its immediate priorities therefore remain elsewhere. The two entities with “observer status” at the UN (the State of Palestine and the Holy See) are not parties to the UNVCDR but the Holy See gained in Vienna a diplomatic protocol which functionally is substantially the same as that of a ratification state.  Indeed, the Vatican’s diplomats are actually granted a particular distinction in that states may (at their own election), grant the papal nuncio (the equivalent rank to ambassador or high commissioner) seniority of precedence, thus making him (there’s never been a female nuncio), ex officio, Doyen du Corps Diplomatique (Dean of the Diplomatic Corps).

Lindsay Lohan in SCRAM bracelet (left), the SCRAM (centre) and Chanel's response from their Spring 2007 collection (right).

A very twenty-first century pouch: Before Lindsay Lohan began her “descent into respectability” (a quote from the equally admirable Mandy Rice-Davies (1944-2004) of MRDA fame), Lindsay Lohan inadvertently became of the internet’s early influencers when she for a time wore a court-ordered ankle monitor (often called “bracelets” which etymologically is dubious but rarely has English been noted for its purity).  At the time, many subject to such orders often concealed them under clothing but Ms Lohan made her SCRAM (Secure Continuous Remote Alcohol Monitor) a fashion statement, something that compelled the paparazzi to adjust their focal length to ensure her ankle of interest appeared in shots.  The industry responded with its usual alacrity and “ankle monitor” pouches were soon being strutted down the catwalks.

Chanel's boot-mounted ankle pouch in matching quilted black leather.

In one of several examples of this instance of Lohanic influence on design, in their Spring 2007 collection, Chanel included a range of ankle pouches.  Functional to the extent of affording the wearing a hands-free experience and storage for perhaps a lipstick, gloss and credit card (and the modern young spinster should seldom need more), the range was said quickly to "sell-out" although the concept hasn't been seen in subsequent collections so analysts of such things should make of that what they will.  Chanel offered the same idea in a boot, a design actually borrowed from the military although they tended to be more commodious and, being often used by aircrew, easily accessible while in a seated position, the sealable flap on the outer calf, close to the knee.   

The origin of the special status of diplomats dates from Antiquity when such envoys were the only conduit of communication between kings and emperors.  They thus needed to be granted safe passage and be assured of their safety in what could be hostile territory, negotiations (including threats & ultimata) often conducted between warring tribes and states and the preamble to the UNVCDR captures the spirit of these traditions:

THE STATES PARTIES TO THE PRESENT CONVENTION,

RECALLING that peoples of all nations from ancient times have recognized the status of diplomatic agents,

HAVING IN MIND the purposes and principles of the Charter of the United Nations concerning the sovereign equality of States, the maintenance of international peace and security, and the promotion of friendly relations among nations,

BELIEVING that an international convention on diplomatic intercourse, privileges and immunities would contribute to the development of friendly relations among nations, irrespective of their differing constitutional and social systems,

REALIZING that the purpose of such privileges and immunities is not to benefit individuals but to ensure the efficient performance of the functions of diplomatic missions as representing States,

AFFIRMING that the rules of customary international law should continue to govern questions not expressly regulated by the provisions of the present Convention have agreed as follows…

US Department of State diplomatic pouch tag.

The diplomatic pouch (known also, less attractively, as the “diplomatic bag”) is granted essentially the same protection as the diplomat.  Historically, the diplomatic pouch was exactly that: a leather pouch containing an emissary’s documents, carried usually on horseback and in the modern age it may be anything from an envelope to a shipping container.  What distinguishes it from other containers is (1) clear markings asserting status and (2) usually some sort of locking mechanism (the origin of which was an envelope’s wax seal and if appropriately marked, a diplomatic pouch should be exempt from any sort of inspection by the receiving country.  Strictly speaking, the pouch should contain only official documents but there have been many cases of other stuff being “smuggled in” including gold, weapons subsequently used in murders, foreign currency, narcotics, bottles of alcohol and various illicit items including components of this and that subject to UN (or other) sanctions.  For that reason, there are limited circumstances in which a state may intersect or inspect the contents of a diplomatic pouch.  The protocols relating to the diplomatic pouch are listed in Article 27 of the UNVCDR:

(1) The receiving State shall permit and protect free communication on the part of the mission for all official purposes. In communicating with the Government and the other missions and consulates of the sending State, wherever situated, the mission may employ all appropriate means, including diplomatic couriers and messages in code or cipher. However, the mission may install and use a wireless transmitter only with the consent of the receiving State.

(2) The official correspondence of the mission shall be inviolable. Official correspondence means all correspondence relating to the mission and its functions.

(3) The diplomatic bag shall not be opened or detained.

(4) The packages constituting the diplomatic bag must bear visible external marks of their character and may contain only diplomatic documents or articles intended for official use.

(5) The diplomatic courier, who shall be provided with an official document indicating his status and the number of packages constituting the diplomatic bag, shall be protected by the receiving State in the performance of his functions. He shall enjoy person inviolability and shall not be liable to any form of arrest or detention.

(6) The sending State or the mission may designate diplomatic couriers ad hoc. In such cases the provisions of paragraph 5 of this article shall also apply, except that the immunities therein mentioned shall cease to apply when such a courier has delivered to the consignee the diplomatic bag in his charge.

(7) A diplomatic bag may be entrusted to the captain of a commercial aircraft scheduled to land at an authorized port of entry. He shall be provided with an official document indicating the number of packages constituting the bag but he shall not be considered to be a diplomatic courier. The mission may send one of its members to take possession of the diplomatic bag directly and freely from the captain of the aircraft.

Former US Ambassador to Pretoria, Lana Marks.

Some ambassadors have been more prepared than most for handing the diplomatic bag, notably Ms Lana Marks (b 1953), the South African-born US business executive who founded her eponymous company specializing in designer handbags.  In 2018, Donald Trump (b 1946; US president 2017-2021) nominated Ms Marks as US ambassador to South Africa, a role in which she served between January 2020 and January 2021 when, under the convention observed by political appointees, she resigned her office.  Although Ms Marks had no background in international relations, such appointments are not unusual and certainly not exclusive to US presidents.  Indeed, although professional diplomats may undergo decades of preparation for ambassadorial roles, there are many cases where the host nation greatly has valued a political appointee because of the not unreasonable assumption they’re more likely to have the “ear of the president” than a Foggy Bottom apparatchik who would be restricted to contacting the secretary of state.  That was apparently the case when Robert Nesen (1918–2005), a Californian Cadillac dealer, was appointed US ambassador to Australia (1981-1985), by Ronald Reagan (1911-2004; US president 1981-1989), a reward (if that’s how being sent to live in Canberra can be described) for long service to the Republican Party fundraising rather than a reflection of Mr Reagan’s fondness for Cadillacs (Mr Nesen’s dealership also held other franchises) although it was Mr Reagan who arranged for Cadillac to replace Lincoln as supplier of the White House limousine fleet.  Ms Marks’ connection to the Trump administration’s conduct of foreign policy came through her membership of Mr Trump’s Mar-a-Lago Club and golf resort (annual membership fee US $200,000), an institution which also produced the country’s ambassador to the Dominican Republic.  Ms Marks seems to have fitted in well at Mar-a-Lago, telling South Africa's Business Live: “It's the most exclusive part of the US, a small enclave, an island north of Miami.  One-third of the world's wealth passes through Palm Beach in season. The crème de la crème of the world lives there.”  One hopes the people of South Africa were impressed.

The Princess Diana by Lana Marks is sold out in emerald green but remains available in gold, black and chocolate brown.

Batwing

Batwing (pronounced bat-wing)

(1) In zoology, the wing of a bat (and, informally, related creatures).

(2) In entomology, several South or Southeast Asian species of tailless dark swallowtail butterflies in the genus Atrophaneura.

(3) An object or design formed or shaped in a way resembling the extended wing of a bat.

(4) In architecture, as “batwing doors”, pairs of swinging doors which typically do not lock nor cover the full vertical range of the doorway (leaving a large gap at the top and bottom), common as entrances to commercial kitchens and in bars.  It was the US industry in the mid-1950s which adopted “batwing doors” to replace “saloon doors” because there was some “middle class resistance” to the association with such establishments; it was a in time which rising prosperity had made mass market interior decorating a thing, hence the re-branding.

(5) In fashion, a garment or part of a garment resembling or conceived of as resembling the wing of a bat, applied usually to a loose, long sleeve (some flaring out, some with a tight wrist and known also as the “magyar sleeve”) but also to hem-lines.

(6) In hairdressing, a variation of the pigtail (in which the tied hair extends from the scalp at close to 90^o before cascading) in which the tied hair extends from the scalp upwards at an acute angle before cascading.  Batwings can be single ties but more typically appear symmetrically to the sides, in emulation of the wings of a bat.

(6) In physical training, an exercise routine or posture on the stomach wherein a dumbbell row or lateral raise is performed.

(7) In slang, an area of flabby fat under a person's arms (known in some places as “tuck shop lady’s arms).

(8) In automotive design, a type of rear fin which extended laterally rather than upwards.

1955–1960: The construct was bat + wing.  Bat (in the sense of the small flying mammal) dates from the late 1570s and is thought to be from a Scandinavian source, possibly the dialectal Swedish natt-batta, a variant of the Old Swedish natt-bakka (night-bat).  It replaced the Middle English bake & bak, from balke & blake, also from a Scandinavian source.  The related Nordic forms included the dialectal Swedish natt-blacka and the Old Icelandic ledhr-blaka (bat), the construct being ledhr (skin, leather) + blaka (flutter) and understood in the vernacular as “leather flapper”, the sense something like the later Old Danish nathbakkæ (literally “night-flapper”).  The earlier use (to describe a club, staff etc) dated from the turn of the thirteenth century and was from the Middle English noun bat, bot & batte, from the Old English batt which may have been from Celtic (the Irish & Scots Gaelic bat & bata meant “staff, cudgel”.  The Middle English verb batten, came partly from the noun, influenced by the Old French batre (batter).  Wing dates from the mid-twelfth century and was from the Middle English plural nouns winge & wenge, from the Old Danish wingæ (the other Nordic forms including the Norwegian & Swedish vinge and the Old Norse vǣngr (wing of a flying animal, wing of a building)).  In the Old Norse, the architectural sense of “a building’s wing” extended to nautical use, a vængi a “ship's cabin”.  The Nordic forms came from the Proto-Germanic wēingijaz, from the primitive Indo-European hweh- (to blow (hence the connection with “flapping” & “wind”).  The cognates included the Danish vinge (wing), the Swedish vinge (wing) and the Icelandic vængur (wing).  In English, “wing” came to replace the Middle English fither, from the Old English fiþre, from the Proto-Germanic fiþriją), which merged with the Middle English fether (from Old English feþer, from Proto-Germanic feþrō).  The spellings bat wing & bat-wing are also used.  Batwing is a noun and adjective, batwinged & batwingish are adjectives; the noun plural is batwings.

Gothic Batwing Sleeved Mermaid Long Dress by Punk Design (left) and Gothic Black A-Line wedding dress with leg Slit, batwing sleeves and bat hem by Wulgaria Couture (right).  Goths like batwings (usually in black with the odd splash of purple), the flowing sleeves often paired with leather or the more accommodating “wet latex look”.  Wulgaria Couture describe the A-Line style as a “wedding dress in gothic black” but it’s available also in a blood red for those non-Goths who like the batwing aesthetic.

Alfa Romeo BAT 5 (1953, left), BAT 7 (1954, centre) and BAT 9 (1955, right), designed by Franco Scaglione (1916–1993).

The Alfa Romeo BAT (Berlina Aerodinamica Tecnica, best translated as “exploration of aerodynamic principles in cars”) concept cars were among the most stylistically adventurous (and aerodynamically successful) of the transatlantic movement in the 1950s which focused on applying the lessons learned from progress in aeronautics during World War II (1939-1945).  The tail fin had been seen as early as the 1920s and their role in enhancing straight-line stability was imported directly from aircraft design but on the road they’d tended to be single, upright structures, best remembered from the use in the pre-war Czechoslovakian Tatras, intriguing things which, configured with a rear-mounted V8 engine, at speed needed a “stabilizing fin” more than most.  However, it was in the 1950s, when such publicity was afforded to jet aircraft, rockets & missiles, that designers took a renewed interest in fins & wings.  In the US, they quickly became extravagances, divorced from any functional relationship to fluid dynamics much beyond the merely coincidental but for Europeans, for whom fuel was more expensive and incomes lower, it was understood aerodynamics alone could improve both a vehicle’s economy and its performance.

Batwings: A grey-headed flying fox.

The performance of the trio was, by contemporary standards, remarkable, all able to attain in excess of 200 km/h (125 mph), despite being powered by a relatively small 1.9 litre (115 cubic inch) engine, albeit one fitted with double overhead camshafts (DOHC).  The wings (the BAT acronym for the cars was opportunistic) were just one part on a design which in all aspects was intended to optimize air-flow and although even at the time there were cars with smaller frontal areas, the BATs gained much of their advantage from the lowering of the front coachwork and the drag coefficient (CD) of the three ranged from 0.19-0.23, impressive even today.  It’s on BAT 7 that the batwing motif is most pronounced, the wings extending as a single structure from the base of the A-pillar, at the rear tilting and sweeping in an arc towards the centre-line.  When the metalworkers in the coach-building house first saw the design, their reaction was something like that of the structural engineers on first viewing the “sails” on the blueprints of Jørn Utzon’s (1918–2008) Sydney Opera House but they rose to the occasion.  The design would never have been suitable for mass-production; the famous fins on the US cars of the era were not only simpler structures but also designed in a way which accommodated the relatively “lose” manufacturing tolerances which permitted them being built quickly and at scale.  Perhaps tellingly, BAT 9 appeared with appendages less batwing-like and more attuned to the way Detroit was doing things.

It's the batwings which made BAT 7 the most memorable of the three and in 2008, Carrozzeria Bertone (builders of the original trio) built the Alfa Romeo BAT 11dk prototype, a conceptual rendering in clay, Styrofoam & filler, designed to use the underpinnings of the Alfa Romeo 8C Competizione.  Commissioned by a former owner of BAT 7, the Global Financial Crisis (GFC) scuttled its appearance at the Geneva Motors Show and certainly any prospect of a small production run or even a one-off creation.

Misty was a weekly British comic magazine for girls which, unusually, was found also to enjoy a significant male readership.  Published UK house Fleetway, it existed only between 1978-1980 although Misty Annual appeared until 1986.  The cover always featured the eponymous, raven haired beauty.  Befitting its theme, bats often featured in the artwork.

Lindsay Lohan in Anger Management (2013) demonstrates the batwing (left), defined by the tied hair extending upwards from the scalp before cascading, as distinct from the “pig tail” (centre) which extends from the scalp at close to 90^o before cascading.  Batwings can be single ties (centred or asymmetric) but more typically appear symmetrically to the sides, in emulation of the wings of a bat.  There are also batwing hair clips (right), also called “batwing hair claws” which is more evocative.

Chevrolet Bel Air: 1957 (left), 1958 (centre) and 1959 (right).

The 1959-1960 Chevrolets quickly picked up the nickname “batwing” and richly it was deserved; there was nothing like them at the time and there’s been nothing since.  The 1959 range actually had a strange and rushed gestation.  The fins on the 1955-1956-1957 cars (the so-called “tri-five Chevies”) had grown upwards in the fashion of the time but the corporation decided something different was needed and for 1958 chose baroque, the embryonic batwings obvious now but it was only when the next year’s model was released they would be understood thus.  The reason the General Motors (GM) 1958 body shape would last only one season was that at time it suffered by comparison with the sleek Chryslers; it was thought frumpy and even bloated and that it was released into that year’s short but sharp recession, didn’t help. The re-design for 1959 had its flaws (many of which (including toning down the batwings) were fixed for 1960) but it could never have been called “frumpy” and the “cats eye” taillights are admired even today.  Still the market didn’t respond as GM would have liked and the batwings soon flew off; by 1963 the Chevrolet was so blandly inoffensive it was being described as “a little bit like every car ever built”.  It proved a great success.

1960 Chevrolet "bubbletop" Impala Sport Coupe (left) and 1963 Ford Consul Capri (right).  On the 1960 Chevrolets, the memorable “cats eye” taillights were replaced by round units, three aside for the top-of-the-line Impala, two for the less expensive Bel Air & Biscayne.

For 1960, Chevrolet made the batwings a little less “batwingish” and the idea travelled across the Atlantic, Ford in the UK applying the scaled-down motif to their Ford Consul Classic (1961-1963) and Consul Capri (1961-1964), the latter a two-door coupé which the company wanted to be thought of as a “co-respondent's car” (ie the sort of rakish design which would appeal to the sort of chap who slept with other men’s wives, later to be named as the “co-respondent” in divorce proceedings).  Whether or not the “batwingettes” played a part isn’t known but neither the Classic nor the Capri were successful.

Sin-eater

Sin-eater (pronounced sin-ee-ter or sin-ee-tah)

(1) An individual (in the historic texts usually a man) who, by the act of eating a piece of bread laid upon the breast of the corpse (although in many depictions the goods are place on the lid of the coffin (casket)) , absorbs the sins of a deceased, enabling them to “enter the kingdom of heaven”.

(2) Figuratively, as a thematic device in literature, a way to represent themes of guilt, atonement, sacrifice, and societal exclusion (used variously to explore the moral complexities inherent in assuming the sins (or guilt) of another, the act of mercy and the implications of personal damnation.

Late 1600s (although the culture practice long pre-dates evidence of the first use of the term):  The construct was sin + eat +-er.  Sin (in the theological sense of “a violation of divine will or religious law; sinfulness, depravity, iniquity; misdeeds”) was from the Middle English sinne, synne, sunne & zen, from the Old English synn (sin), from the Proto-West Germanic sunnju, from the Proto-Germanic sunjō (truth, excuse) and sundī, & sundijō (sin), from the primitive Indo-European hs-ónt-ih, from hsónts (being, true), implying a verdict of “truly guilty” against an accusation or charge), from hes- (to be) (which may be compared with the Old English sōþ (true).  Eat (in the sense of “to ingest; to be ingested”) was from the Middle English eten, from the Old English etan (to eat), from the Proto-West Germanic etan, from the Proto-Germanic etaną (to eat), from the primitive Indo-European hédti, from hed- (to eat).  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  Sin-eater is a noun and sin-eating is a verb; the noun plural is sin eaters.  The term often appears as “sin eater” but (untypically for English), seemingly not as “sineater”.

The first documented evidence of the term “sin-eater” appears in texts dating from the late seventeenth century but cultural anthropologists believe the actual practice to be ancient and variations of the idea are seen in many societies so the ritual predates the term, the roots apparently in European and British folk traditions, particularly rural England and Wales.  The earliest (authenticated) known documented mention of a sin-eater occurs Remaines of Gentilisme and Judaisme (1686) by English antiquary John Aubrey (1626–1697), in which is described the custom of a person eating “bread and drinking ale” placed on the chest of a deceased person in order that their “many sins” could be eaten, thus allowing the untainted soul to pass to the afterlife, cleansed of “earthly wrongdoings”.   Aubrey would write of a "sin-eater living along the Rosse road" who regularly would be hired to perform the service, describing him as a “gaunt, ghastly, lean, miserable, poor rascal”.  He mentioned also there was a popular belief that sin-eating would prevent the ghost of the deceased from walking the earth, a useful benefit at a time when it was understood ghosts of tormented souls, unable to find rest, haunted the living.  Whether this aspect of the tradition was widespread or a localism (a noted phenomenon in folklore) isn't know.  Interestingly, in rural England and Wales the practice survived the Enlightenment and became more common (or at least better documented) in the eighteenth & nineteenth centuries.  In the turbulent, troubled Middle East, a macabre variation of the sin-eater has been documented.  There, it's reported that a prisoner sentenced to death can bribe the jailors and secure their freedom, another executed in their place, the paperwork appropriately altered.   

Paris Hilton (b 1981, left) and Lindsay Lohan (b 1986, right) discussing their “manifold sins and wickedness” while shopping, Los Angeles, 2004.

The ritual was of interest not only to social anthropologists but also to economic historians because while it was clear sin-eaters did receive payment (either in cash or in-kind (typically food)), there’s much to suggest those so employed were society’s “outcasts”, part of the “underclass” sub-set (beggars, vagrants, vagabonds etc) which is the West was a less formalized thing than something like the Dalits in Hinduism.  The Dalits (better known as the “untouchables”) in the West are often regarded as the “lowest rung” in the caste system but in Hindu theology the point was they were so excluded they were “outside” the system (a tiresome technical distinction often either lost on or ignored by the colonial administrators of the Raj) and relegated to the least desirable occupations.  Being a sin-eater sounds not desirable and theologically that’s right because in absolving the dead of their sins, the sin-eater becomes eternally burdened with the wickedness absorbed.  Presumably, a sin-eater could also (eventually) have their sins “eaten” but because they were from the impoverished strata of society, it was probably unlikely many would be connected to those with the economic resources required to secure such a service.  As a literary device, a sin-eater (often not explicitly named as such) is a character who in some way “takes on” the sins of others and they can be used to represent themes of guilt, atonement, sacrifice, and societal exclusion.  In popular culture, the dark concept is quite popular and there, rather than in symbolism, the role usually is explored with the character being explicating depicted as a “sin-eater”, an example being The Sin Eater (2020) by Megan Campisi (b 1976), a dystopian novel in which a young woman is forced into the role as a punishment.

Nice work if you can get it: The Sin-Eater, Misty Annual 1986.  Misty was a weekly British comic magazine for girls which, unusually, was found also to enjoy a significant male readership.  Published by UK house Fleetway, it existed only between 1978-1980 although Misty Annual appeared until 1986.  The cover always featured the eponymous, raven haired beauty.

There’s the obvious connection with Christianity although aspects of the practice have been identified in cultures where they arose prior to contact with the West.  The novel The Last Sin Eater by born-again US author Francine Rivers (b 1947) was set in a nineteenth century Appalachian community and dealt with sin, guilt & forgiveness, tied to the “atonement of the sins of man” by the crucifixion of Jesus Christ and thematically that was typical of the modern use.  However, the relationship between sin-eating and the Christian ritual of communion is theologically tenuous.  The communion, in which bread symbolizes the body of Christ and wine symbolizes His blood is actually literal in the Roman Catholic Church under the doctrine of transubstantiation which holds that during the sacrament of the Eucharist (or Holy Communion), the bread and wine offered by the priest to the communicants transforms into the body and blood of Christ.  That obviously requires faith to accept because while the appearances of the bread (usually a form of wafer) and wine (ie their taste, texture, and outward properties) remain unchanged, their substance (what truly they are at the metaphysical level) is said to transform into the body and blood of Christ.  Once unquestioned by most (at least publicly), the modern theological fudge from the Vatican is the general statement: “You need not believe it but you must accept it”.

Sin-eating and communion both involve the consumption of food and drink in a symbolic manner.  In sin-eating, a sin-eater consumes food placed near or on the corpse symbolically to “absorb” their sins so the soul of the deceased may pass to the afterlife free from guilt while in the Christian Eucharist, the taking of bread and wine is a ritual to commemorate the sacrifice of Jesus who, on the cross at Golgotha, died to atone for the sins of all mankind.  So the central difference is the matter of who bears the sins.  In sin-eating, that’s the sin-eater who personally takes on the spiritual burden in exchange for a small payment, thus becoming spiritually tainted in order that another may spiritually be cleansed.  In other words, the dead may “out-source” the cost of their redemption in exchange for a few pieces of silver.  In the Christian communion, it’s acknowledged Jesus has already borne the sins of humanity through His crucifixion, the ritual an acknowledgment of His sacrificial act which offered salvation and forgiveness of sin to all who believe and take him into his heart.  One can see why priests were told to discourage sin-eating by their congregants but historically the church, where necessary, adapted to local customs and its likely the practice was in places tolerated.

Psyche

Psyche (pronounced sahyk or sahy-kee)

(1) In the mythology of Ancient Greece and Classical Rome, the personification of the soul.  The beautiful nymph was originally a mortal princess who later married Eros (Cupid, the god of love), was deified and bore him a daughter Hedone (Voluptas).

(2) In the popular imagination, the human soul, spirit, or mind.

(3) In psychology & psychoanalysis, the mental or psychological structure of a person, especially as a motive force (as opposed to the pure physicality of the body).  The psyche is the centre of thought, feeling, and motivation, consciously & unconsciously directing the body's reactions to external influences (the social and physical environment).

(4) In philosophy (in neo-Platonism), the second emanation of the One, regarded as a universal consciousness and as the animating principle of the world.

(5) A variant of the noun, verb & adjective psych (mostly in colloquial use as a clipping of psych(ology)).

(6) In cosmology, a main belt asteroid.

(7) A female given name.

(8) A small white butterfly, Leptosia nina, family Pieridae, of Asia and Australasia; a taxonomic genus within the family Psychidae (bagworm moths).  The butterfly was the symbol of the waif Psykhē, thus the frequency with which depictions of a “departed soul, spirit, ghost” were rendered as winged creatures with some resemblance to butterfly.

(9) As “psyche knot”, a technique of knotting up a woman's hair, said to be imitative of the style used in Ancient Greece but because so many of these notions were based on depictions by Medieval and Renaissance artists, the historical efficacy is dubious (known also as the Grecian knot).

(10) As “psyche mirror”, a tall (originally free-standing, framed & mounted between two posts which allowed vertically to pivot) mirror.  Psyche mirrors are still used as decorative pieces although most full-length mirrors are now wall-mounted or function also a wardrobe doors.  The name was gained from the idea that because it reflected the whole body, it symbolized introspection.  The alternative name is “cheval glass”.

1650s: The seventeenth century adoption of “psyche” as an expression of the notion of “animating spirit, the human spirit or mind” reflected the understanding of the time of what was described as “the soul, mind, spirit; life, one's life, the invisible animating principle or entity which occupies and directs the physical body; understanding, the mind (as the seat of thought), faculty of reason”; something which inhabited and controlled the body yet was something separate.  It was used also of the “ghost, spirit of a dead person” although there were differences in interpretation between the religious and secular.  What has long been a puzzle is the extent of the influence of psȳ́chein (to blow, breathe; to cool, to make dry”.  The Ancient Greek ψυχή (psukhḗ) (“soul, spirit” and literally “breath”) was a derivative of psȳ́chein (thus the uses connected with “to live”), the construct being ψῡ́χω (psū́khō) (I blow) +‎ -η (-ē) but the problem is this seems ever to have enjoyed the meaning “breath”, even in the writings of Homer.  More than one etymologist has been recorded as being “tempted” by the long documented connection with the primitive Indo-European root bhes- (to blow, to breathe) which was the source of the Sanskrit bhas- (thought probably imitative).  However, all admit the existence of a link is scant and the theory is thus a conjecture.  Psyche is a noun & verb, psyched is a verb & adjective and psyching is a verb; the noun plural is psyches.

Psych (never psyche) was used as US student slang for the academic study of “psychology” (later extended to references in various senses) by 1895.  Psychology was from the French psychologie, from the Renaissance Latin psychologia, emulating the Greek construct ψυχή (psukhḗ) + -λογία (-logía) (study of), thus in English as psych(o)- +‎ -ology.  The suffix -ology was formed from -o- (as an interconsonantal vowel) +‎ -logy.  The origin in English of the -logy suffix lies with loanwords from the Ancient Greek, usually via Latin and French, where the suffix (-λογία) is an integral part of the word loaned (eg astrology from astrologia) since the sixteenth century.  French picked up -logie from the Latin -logia, from the Ancient Greek -λογία (-logía).  Within Greek, the suffix is an -ία (-ía) abstract from λόγος (lógos) (account, explanation, narrative), and that a verbal noun from λέγω (légō) (I say, speak, converse, tell a story).  In English the suffix became extraordinarily productive, used notably to form names of sciences or disciplines of study, analogous to the names traditionally borrowed from the Latin (eg astrology from astrologia; geology from geologia) and by the late eighteenth century, the practice (despite the disapproval of the pedants) extended to terms with no connection to Greek or Latin such as those building on French or German bases (eg insectology (1766) after the French insectologie; terminology (1801) after the German Terminologie).  Within a few decades of the intrusion of modern languages, combinations emerged using English terms (eg undergroundology (1820); hatology (1837)).  In this evolution, the development may be though similar to the latter-day proliferation of “-isms” (fascism; feminism et al).

Just as Eros (Cupid) was smitten, the word “psyche” seems to have seduced all whoc wrote on the subject of the soul (however understood).  There was much sense development in Platonic philosophy theological writing, especially that written under Jewish influence; in Biblical use the Greek word was used of (1) “the soul as the seat of feelings, desires, affections etc”, (2) “the soul regarded as a moral being designed for everlasting life” and (3) “the soul as an essence which differs from the body and is not dissolved by death.”  In English, the meaning “human soul” dates from the mid-seventeenth century while the modern sense in psychology of “mind” is said only to have some into use after 1910 which seems surprisingly late.  By 1914 the profession was using the verb “psych” to mean “to subject to psychoanalysis” (ie a shortened form of to “psychoanalyse” and the jargon entered general use, from 1934 used as the term “psych out” (to to outsmart) in baseball, (US) football and also in commerce.  In 1952 it was documented in the card game bridge as meaning “to make a bid meant to deceive an opponent” (bridge players thinking their game too complex for the poker player’s mere “bluff”.  By the early 1960s “psych out” had the general meaning “to unnerve” while to “psych (oneself) up” emerged a decade later, building on “psyched up” (stimulate (oneself), prepare mentally for a special effort) first appeared in newspapers in the US in 1968.

The psyche knot

The Hairdo Handbook: A Complete Guide to Hair Beauty (1964) by Dorothea Zack Hanle (1918-1999); the psyche knot was discussed in Chapter XVIII: Handling and Styling Long Hair.  It would be a different, more difficult, world without the "invisible hairpin".

Although Dorothea Zack Hanle was for some time editor of HairDo magazine, she’s remains best remembered for her food writing, her career including a long tenure as an editor at Bon Appetit, several cookbooks and being one of the founders of Les Dames d'Escoffier, an international women's organization that promotes fine dining and wine.  Ms Hanle had quite a journalistic range, he publications including The Surfer's Handbook (1968), Cooking With Flowers (1971), Cooking Wild Game (1974) and the co-authored children's cookbook, The Golden Ladle (1945).  Additionally, she published also on subjects as diverse as gardening, diet and exercise.

The psyche knot (known also as the Grecian knot) was said to be imitative of the style used in Ancient Greece but because so many of these notions were based on depictions by Medieval and Renaissance artists, the historical efficacy is dubious.  Psyche (alone or with Eros (Cupid), her sisters or others) was a popular subject and while in many paintings her hair is stacked high, it was also not unusual for her tresses to be shown flowing as the German illustrator and painter Friedrich Paul Thumann (1834-1908, Berlin) chose for Cupid and Psyche (1900, left).  In Psyche showing her Sisters her Gifts from Cupid, (circa 1753 (centre)) Jean-Honoré Fragonard, (1732–1806) even showed her “having her hair styled”, presumably with an eponymous knot.  In his Expressionist Cupid and Psyche (1907, right), Edvard Munch (1863-1944) decided she deserved a knot.  Now hung in the Munch Museum in Oslo, it’s of interest because it was painted early in the period when Munch had begun to paint human figures, something which would later make him famous, Cupid and Psyche one of 22 works in his collection called The Frieze of Life.  Ominously, the painting was loaned to Musée d'Orsay (Museum d’Orsay) in Paris where it was part of the Crime and Punishment exhibition, organized to emphasize to the population those crimes attracting a death sentence.

The technique used to tie the psyche know wasn’t new in the 1920s but it was then it became a thing.  At that time, the “bob” had become a popular style among bright young things and their many imitators, part of a trend which was both an aesthetic call and a marker of first-wave feminism, a reaction to previous fashions in which clothing had been constricting and voluminous.  Then, called the “garçonne” (a feminized version of the French garçon (boy)), it now remembered as the “flapper style”, distinguished by an angular, slender silhouette, the irony of the look (for all but the genetically lucky) that having abandoned corsets during World War I (1914-1918), most were compelled to seek the help of girdles, garments rather less comfortable than modern shapewear.  Short hairstyles (the bob or the shingle) were an essential part of the “boyish look”, albeit offset by the deliberately obvious application of rouge, eyeliner and lipstick which was famously red.  Some women however wanted “a bob each way” (as it were), liking the short-hair look but wanting to retain the flexibility to display a mane when circumstances demanded or an opportunity was presented.  The solution can be thought of as the “faux bob” and while there were a number of ways to achieve this (including the famous “side-pods”), the psyche know was the simplest to execute and, done properly, would survive an evening’s dancing without the dreaded, annoying “flyaway bits”

The psyche mirror

La Psyché (known in English as The Psyche Mirror, 1876, left), oil on canvas by the French artist Berthe Morisot (1841-1895), Thyssen-Bornemisza Museum, Madrid, Spain shows a woman before a classic “psyche mirror” (known originally as a “psyche glass” (looking-glass still the preferred form among a certain subset (the one in which at cards a jack is called a knave)).  Lindsay Lohan (right) illustrates this generation’s use of the psyche mirror for full-length selfies.  Ms Lohan was with child when this selfie was snapped in New York during 2022 (note the comfortable shoes).  The original psyche mirrors were tall, free-standing, framed & mounted between two posts which allowed them vertically to pivot), the advantage being it made it possible for the subject to view herself in a greater aspect range.  The free-standing designs are still sometimes used as decorative pieces but most full-length mirrors are now wall-mounted or function also a wardrobe doors.  The name was gained from the idea that because it reflected the whole body, it symbolized introspection.  The alternative name is “cheval glass”, from the French form chevel glace (mirror).  Chevel was from the French cheval (horse, supporting frame), from the Middle French cheval, from the Old French cheval, from the Late Latin caballus (horse), from the Classical Latin caballus (pack horse) of uncertain origin.  The term thus deconstructs as glass (mirror) mounted in a supporting frame.

Cupid, Psyche and the Nectar of the Gods

In Greek mythology, Psyche was the youngest and loveliest of a king’s three daughters.  So haunting was Psyche’s beauty that people travelled from afar to pay homage, neglecting the worship of Venus (Aphrodite), the goddess of love and beauty, instead venerating the nymph.  Venus became enraged at finding her altars deserted, men instead turning their devotions to the young virgin, watching as she passed, singing her praises and strewing her way with chaplets and flowers.

Indignant at the exaltation of a mortal, Venus began her righteous rant.  "Am I then to be eclipsed in my honors by a mere mortal girl?  In vain then did that royal shepherd, whose judgment was approved by Jove himself, give me the palm of beauty over my illustrious rivals, Pallas and Juno. But she shall not so quietly usurp my honors. I will give her cause to repent of so unlawful a beauty."  Venus summoned her winged son, the mischievous Cupid and telling him of Psyche, ordered her revenge.  "My dear son, punish that contumacious beauty; give your mother a revenge as sweet as her injuries are great; infuse into the bosom of that haughty girl a passion for some low, mean, unworthy being, so that she may reap a mortification as great as her present exultation and triumph."

Obediently, Cupid set to his task.  In the garden of Venus lay two fountains, one of sweet waters, the other of bitter.  Cupid filled two amber phials, one from each fountain and suspending them from the top of his quiver, hastened to the chamber of Psyche, finding her asleep.  He shed a few drops from the bitter fountain over her lips and although though the sight of her moved him almost to pity, touched her side with the point of his arrow.  At the touch she awoke and her eyes gazed upon the invisible Cupid which so enchanted him he became confused and pricked himself with his own arrow.  Helplessly in love, his only thought now was to repair the mischief he had done and he poured the balmy drops of joy over all her silken blonde ringlets.

Psyche, henceforth frowned upon by Venus, gained no benefit from her charms.  While all cast covetous eyes upon her and all spoke her praises, not prince, plebeian or peasant ever asked for her hand in marriage.  Her two sisters had become betrothed to princes but Psyche sat in solitude, feeling cursed by the beauty which had failed to awaken love.  The king and queen, thinking they had incurred the wrath of the gods turned for guidance to the oracle of Apollo who answered: “The virgin is destined for the bride of no mortal lover. Her future husband awaits her on the top of the mountain. He is a monster whom neither gods nor men can resist."

Her parents, distraught, abandoned themselves to grief but Psyche was fatalistic, saying "Why, my dear parents, do you now lament me? You should rather have grieved when the people showered upon me undeserved honors, and with one voice called me a Venus. I now perceive I am victim to that name.  I submit.  Lead me to that rock to which my unhappy fate has destined me."  Accordingly, amid the lamentations of all, she was taken to the peak of the mountain and there left alone.  When the tearful girl stood at the summit, the gentle Zephyr raised her from the earth and carried her on the breeze, bringing her to rest in a flowery dale where she laid down to sleep.  When she awoke, refreshed, she looked around and beheld nearby a grove of tall and stately trees.  Entering the forest, she discovered in its midst a fountain from which bubbled crystal-clear waters and nearby, a splendid palace, so magnificent she knew it the work not of mortal hands, but the retreat of some god.  Drawn by admiration and wonder, she ventured to enter the door.  Amazed at what she saw, she walked along a marble floor so polished it shimmered, golden pillars supported a vaulted roof, walls were enriched with carvings and paintings of fantastic beasts.  Everything upon which her eye fell delighted her.

Soon, although she saw no one, she heard a voice.  "Sovereign lady, all that you see is yours. We whose voices you hear are your servants and shall obey all your commands with utmost care.  Retire, should you please, to your chamber, recline upon your bed of down and when you see fit, repair to the bath.  Your supper awaits in the alcove”.  Psyche took her bath and seated herself in the alcove, whereupon a table appeared laden with extraordinary delicacies of food and nectarous wines.   While she ate, she heard the playing of lute and harp and the harmony of song.

That night she met he husband but he came only in the darkness, fleeing before the dawn, but his words and caresses were of love and inspired in her a like passion.  Often she would beg him to stay so she might behold him in the light but he refused, telling her never to attempt to see him, for no good would come of it and that he would rather have her love him as a man than adore him as a god.  This, Psyche accepted but the days grew long and lonely and she began to feel she was living in a gilded cage.  One night, when her husband came, she told him of her distress, her charms enough to coax from him his unwilling acquiescence that her sisters could visit.  Delighted, she summoned the obedient Zephyr who brought them to the mountain and in happiness, they embraced.

The splendor and celestial delights of Psyche’s palace astonished her sisters but also aroused their envy and they began to pepper her with questions about her husband and she told them he was a beautiful youth who spent his days hunting in the mountains.  Unconvinced, the soon drew from her that she had never seen him and they began to fill her mind with dark suspicions, recalling the Pythian oracle had declared her doomed to marry a direful and tremendous monster.  Psyche protested but they told her the folk living in the valley say the husband is a terrible and monstrous serpent, amusing himself while nourishing her with dainties that he may by and by devour her.  They told to one night to take with her a lamp and sharp blade so that when he slept she might light the lamp and see his true form.  If truly he is a monster they told her, "hesitate not and cut off its head".

Psyche tried to resist her sisters’ persuasions but knew she was curious and that night she took to bed a lamp and a long, sharp knife.  When he had fallen to sleep, silently she arose and lit her lamp, beholding but the most beautiful of the gods, his golden ringlets falling over his snowy neck, two dewy wings on his shoulders whiter than snow, with shining feathers like the tender blossoms of spring.  Entranced, as she moved her lamp better to see his face, a drop of hot oil fell on the shoulder of the god and startled, he opened his eyes and fixed them upon her.  They both were frozen for a few seconds, then suddenly and without a word, he spread his wings and flew out of the window.  Psyche, crying in despair, in vain endeavored to follow but fell from the window to the ground below.

Hearing her fall, Cupid for a moment paused in his flight and turned to her saying, "Oh faithless Psyche, is it thus you repay my love? After I disobeyed my mother's commands and made you my wife, will you think me a monster and would cut off my head?  Go, return to your sisters, who you trust more than me.  I punish you no more than to forever leave you for love cannot dwell with suspicion."  With those words, he flew off, leaving poor Psyche crying into the earth.  For hours she sobbed and then looked around, but her palace and gardens had vanished and she found herself in a field in the city where her sisters dwelt.  She repaired thither and told them her story at which, though pretending to grieve with her, the two evil sisters inwardly rejoiced for both thought as one: that Cupid might now choose one of them.  Both the next morning silently arose and snuck secretly to the mountain where each called upon Zephyr to bear them to his lord but leaping up, there was no Zephyr to carry them on the breeze and each fell down the precipice to their deaths.

The devastated Psyche meanwhile wandered.  Day and night, without food or rest, she searched for her husband and one evening saw in the distance a magnificent temple atop a lofty mountain and she felt her heart beat, wondering if perhaps there was Cupid.  She walked to the temple and there saw heaps of corn, some in loose ears and some in sheaves, mingled with ears of barley.  Scattered about, lay sickles and rakes, the instruments of harvest, without order, as if thrown carelessly from the weary reapers' hands in the sultry hours of the day.  This unseemly confusion disturbed the neat and tidy Psyche and she put herself to work, separating and sorting everything and putting all in its proper place, believing she ought to neglect none of the gods, but prove by her piety to prove she was worthy of their help.  The holy Ceres, whose temple it was, finding her so religiously employed, thus spoke to her, "Oh Psyche, truly your are worthy of our pity, though I cannot shield you from the frowns of Venus, I can teach you how best to allay her displeasure. Go, then, and voluntarily surrender yourself to your lady and sovereign, and try by modesty and submission to win her forgiveness, and perhaps her favor will restore you the husband you have lost."  Filled with both fear and hope, Psyche made her way to the temple of Venus.

Venus met her with anger.  "Most undutiful and faithless of servants," said she, "do you at last remember you have a mistress or have you come to see your sick husband, the one injured by the wound given him by his worthless wife?  You are so ill favored you can be worthy of your lover only by showing industry and diligence.  I shall put you to work".  She led Psyche to temple’s storehouse in which sat vast piles of wheat, barley, vetches, beans and lentils, the food for her birds.  “Separate these grains, put them all in sacks and have it done by night” she commanded, leaving her to the task.  Shocked, Psyche sat silent, moving not a finger.  While she despaired, Cupid ordered an ant, a native of the fields, to bring all ants from the anthill and they gathered on the piles.  Quickly and with the efficiency of their breed, they took grain by grain, making perfect parcels of each and when done, vanished from sight.  As twilight fell, Venus returned from a banquet of the gods and seeing the sacks neatly stacked, became enraged.  "This is no work of yours, wicked one, but his, whom to your own and his misfortune you have enticed."  So saying, she threw her a piece of black bread for her supper and stormed off.

Next morning Venus ordered Psyche to be called and said to her, "Behold yonder grove which stretches along the margin of the water.  There you will find sheep feeding without a shepherd, with golden-shining fleeces on their backs.  Go now, fetch me some of that precious wool gathered from every one of their fleeces."  Standing on the riverbank, wondering at the difficulty of her task, Psyche was about to cross but river god made the reeds speak, telling her "Oh maiden, tempt not the dangerous flood, nor venture among those rams for as long as the sun shines, they burn with a cruel rage to destroy mortals with their sharp horns or rude teeth.  But when the noontide sun has driven them to the shade, and the serene spirit of the flood has lulled them to rest, you may then cross in safety, and you will find the woolly gold sticking to the bushes and the trunks of the trees."  Psyche did as they said and returned with her arms full of the golden fleece but Venus was not pleased.  "Well I know it is by none of your own doings that you have succeeded I do not believe you are of use but I have another task for you.  Here, take this box and go your way to the infernal shades, and give this box to Proserpine and say, 'my mistress Venus desires you to send her a little of your beauty, for in tending her sick son she has lost some of her own'.  Be not too long on your errand, for I must paint myself with it to appear this evening at the circle of the gods."

Psyche now believed her own destruction was at hand and, with no wish to delay what was not to be avoided, dashed to the top of a high tower, preparing to cast herself headlong, thus to descend the shortest way to the shades below.  But then, a voice from the tower said to her, "Why, poor unlucky girl, do you design to put an end to your days in so dreadful a manner? And what cowardice makes you sink under this last danger when you have been so miraculously supported in all your former?"  Then the voice told her how by a certain cave she might reach the realms of Pluto, and how to avoid all the dangers of the road, to pass by Cerberus, the three-headed dog, and prevail on Charon, the ferryman, to take her across the black river and bring her back again. But the voice also cautioned, "When Proserpine has given you the box filled with her beauty, you must never once open or look into the box nor allow your curiosity to pry into the treasure of the beauty of the goddesses."

Encouraged, Psyche obeyed the advice and travelled safely to the kingdom of Pluto. Admitted to the palace of Proserpine, she delivered her message from Venus and soon, she was handed the box, shut and filled with the precious commodity. Then she returned the way she came, glad once more to be in the light of day.  But as she walked along the path, a longing desire overcame her, an urge to look into the box for, as she imagined, a touch of the divine beauty would make her more desired by Cupid so, delicately, she opened the box.  But in there was nothing of beauty but only an infernal and truly Stygian sleep which, being set free from its prison, took possession of her, and she fell in the road where she stood, plunged into a deep sleep, lying there without sense or motion.

But Cupid was now recovered and could no longer bear the absence of his beloved Psyche and slipping through a crack in the window, he flew to where Psyche lay.  He gathered up the sleep from her and closed it again in the box, waking her with the gentlest touch of one of his arrows. "Again," said he, "have you almost perished by the same curiosity.  But now perform exactly the task imposed on you by my mother, and I will take care of the rest."  Then Cupid, as swift as lightning, presented himself before Jupiter with his supplication.  Jupiter was impressed and so earnestly did he plead the cause of the lovers that he won the consent of Venus and on hearing this, sent Mercury to bring Psyche up to the heavenly assembly, and when she arrived, he handed her a goblet ambrosia saying, "Drink this, Psyche, and be immortal; nor shall Cupid ever break away from the knot in which he is tied, but these nuptials shall be perpetual."  Thus Psyche became at last united to Cupid, and in time, born to them was a daughter whose name was Pleasure.

Wedding Banquet of Cupid and Psyche (circa 1517) by Raphael (1483–1520).

The story of Cupid and the OCD Psyche is told by the Roman writer Apuleius (circa 124-circa 170) in three chapters in his rather risqué picaresque novel, The Metamorphoses of Apuleius (which Saint Augustine dubbed Asinus aureus (The Golden Ass (by which it’s today known)).  The Golden Ass is notable as the only full-length work of fiction in Classical Latin to have survived in its entirety and is a work with aspects which would be regarded as novel centuries later, including fantastical imagery, passages like fairy tales and elements which would now be called magic realism.  Like many modern fairy tales, there is a moral to the story and for Apuleius it was that it is love which makes to soul immortal and there was no need for subtlety, Cupid the son of the goddess of desire and Psyche's name originally meant soul.

With the re-discovery (and some re-invention) of much of antiquity during the Renaissance, the story gained much popularity and attracted the interest of artists and from Raphael’s (Raffaello Sanzio da Urbino, 1483–1520) studio came the best known evocation.  One of the scenes is the wedding feast, painted in the form of a hanging tapestry.  Psyche’s guest list was a roll-call of the gods, Ganymede, Apollo, Bacchus and Jupiter are all at the table, the Graces and the Hours in attendance.  The artists (for some the work was executed by professional painters under Raphael’s guidance) do have some fun, very much in the spirit of Apuleius for above the flying Mercury sits, artfully arranged, a suggestive conjunction of certain vegetables and fruits.

The Wedding Feast of Cupid and Psyche (1532) by Giulio Romano.

The romance of Cupid and Psyche drew other artists including the Italian Giulio Romano (Giulio Pippi, circa 1499-1546), a student of Raphael whose influence permeates.  While not highly regarded by critics and better remembered as an architect, Romano is of note because he was among the earliest of the artists whose work can be called Mannerist and certainly his wedding feast painting includes the mythological, a staged and theatrical setting, eroticism and an unusual sense of perspective; all characteristic of Mannerist art although he remained entirely naturalistic in the callipygian rendering of Psyche’s buttocks.

In Shakespeare's late drama The Winter's Tale there’s an allusion to Romano as “that rare Italian master” but despite the bard’s apparent admiration, historians of art treat him as little more than a footnote; the shadow Raphael cast was long.  Some critics seem determined to devalue his work, the Catholic Encyclopaedia (1913) noting it was “prolific and workmanlike, always competent…” but with “…no originality; as a painter, he is merely a temperament, a prodigious worker. His manual dexterity is unaccompanied by any greatness of conception or high moral principle.  His lively but superficial fancy, incapable of deep emotion, of religious feeling, or even of observation, attracted him to neutral subjects, to mythological paintings, and imaginary scenes from the world of fable. Therein under the cloak of humanism, he gave expression to a sensualism rather libertine than poetical, an epicureanism unredeemed by any elevated or noble quality.  It is this which wins for Giulio his distinctive place in art.  His conception of form was never quite original; it was always a clever and bookish compromise between Raphael and Michelangelo.  His sense of color grows ever louder and uglier, his ideas are void of finesse, whatever brilliancy they show is second-hand. His single distinctive characteristic is the doubtful ease with which he played with the commonplaces of pagandom.  In this respect at least, paintings like those of the Hall of Psyche (1532) are historical landmarks.  It is the first time that an appeal is made to the senses with all the brutal frankness of a modern work”. 

Damning with faint praise perhaps.  Grudgingly, the editors did concede that despite being “…distinguished by such characteristics and marked by such defects, Romano occupies nevertheless an important place in the history of art. More than any other, he aided in propagating the pseudo-classical, half-pagan style of art so fashionable during the seventeenth century. It’s mainly through his influence that after the year 1600 we find so few religious painters in Europe”.

One could hardly expect The Catholic Encyclopedia (sub-titled An International work of reference on the constitution, doctrine, discipline and history of the Catholic Church), to find much worthy in a mannerist (or perhaps anything modern).  Mannerism, novel in some ways as it was, was rarely original in form or content.  It was a reaction against the perceived perfection of the neo-classicism of the High Renaissance and artists from Romano on were drawn to Greek mythology, characters like Psyche and Echo able simply and unambiguously to represent the psychological problems muddied by Christian theology.