Rack

Rack (pronounced rak)

(1) A framework of bars, wires, or pegs on which articles are arranged or deposited.

(2) A fixture containing several tiered shelves, often affixed to a wall.

(3) A vertical framework set on the sides of a wagon and able to be extended upward for carrying hay, straw, or the like in large loads.

(4) In certain cue sports (pool, snooker), a frame of triangular shape within which the balls are arranged before play; the balls so arranged.

(5) In butchery & cooking, the rib section of a fore-saddle of lamb, mutton, pork or veal (historically used also of the neck portion).

(6) In nephology (the branch of meteorology concerned with cloud formation, structure, classification, and dynamics), as “cloud rack”, a group of drifting clouds.

(7) In machinery, a bar, with teeth on one of its sides, adapted to engage with the teeth of a pinion rack and pinion or the like, as for converting circular into rectilinear motion or vice versa (best known from the “rack & pinion” steering apparatus used in motor vehicles).

(8) An instrument of torture consisting of a framework on which a victim was tied, often spread-eagled, by the wrists and ankles, to be slowly stretched by spreading the parts of the framework; there were many variations.

(9) As “on the rack”, originally a reference to the torture in progress, later adopted figuratively to describe a state of intense mental or physical suffering, torment, or strain.

(10) In equestrian use, the fast pace of a horse in which the legs move in lateral pairs but not simultaneously (the “horse's rack”).

(11) In military use, a fixed (though sometimes with some scope for movement for purposes of aiming), a framework fixed to an aircraft, warship or vehicle and used as a mounting for carrying bombs, rockets, missiles etc.

(12) In zoology, a pair of antlers (more commonly used of wall mounted trophies (eight-point rack etc)).

(13) In slang, ruin or destruction (a state or rack).

(14) In slang, a woman's breasts (often with a modifier).

(15) In slang, a large amount of money (historically a four-figure sum).

(16) In military, prison and other institutional slang, a bed, cot, or bunk.

(17) In slang, to go to bed; go to sleep.

(18) In slang, to wreck (especially of vehicles).

(19) In slang, as “to rack up”, a sudden or dramatic increase in the price of goods or services.

(20) In slang, to tally, accumulate, or amass, as an achievement or score (often expressed as “racked up”).

(21) In vinification (wine-making), to draw off (wine, cider etc) from the lees (to “rack into” a clean barrel).

(22) To torture; acutely to distress or torment (often expressed as “racked with pain”).

(23) To strain in mental effort (often expressed as “racked her brain”).

(24) To strain by physical force or violence; to strain beyond what is normal or usual.

(25) To stretch the body of a victim in torture by the use of a rack.

(26) In nautical use, to seize two ropes together, side by side:

(27) In cue sports, as “rack 'em up”, to place the balls on the tales in the correct spot with the use of a rack.

1250–1300: From the Middle English noun rakke & rekke, from the Middle Dutch rac, rec & recke (framework) and related to the Old High German recchen (to stretch), the Old Norse rekja (to spread out), the Middle Low German reck and the German Reck.  The use to mean “wreck” dates from the late sixteenth century and was a phonetic variant of the earlier wrack, from the Middle English wrake, wrache & wreche, a merging of the Old English forms wracu & wræc (misery, suffering) and wrǣċ (vengeance, revenge).  Except as a literary or poetic device (used to impart the quality of “vengeance; revenge; persecution; punishment; consequence; trouble”) or in some dialects to mean “ruin, destruction; a wreck”), wrack is now archaic.  The equestrian use (the fast pace of a horse in which the legs move in lateral pairs but not simultaneously (the “horse's rack”)) dates from the 1570s and the origin is obscure but it may have been a variant of “rock” (ie the idea of a “rocking motion”).  Nephology (the branch of meteorology concerned with cloud formation, structure, classification, and dynamics) adopted “cloud rack” (a group of drifting clouds) from mid-fourteenth century use in Middle English where the original spellings were rak, recke & reck, from the Old English wrǣc (what is driven) and related to the Gothic wraks (persecutor) and the Swedish vrak.  The use in vinification (wine-making), describing the process of drawing off (wine, cider etc) from the lees (to “rack into” a clean barrel) dates from the mid fifteenth century and was from the Old Provençal arraca , from raca (dregs of grapes), ultimately from the by then obsolete Old French raqué (of wine pressed from the dregs of grapes).  The use in butchery & cooking (the rib section of a fore-saddle of lamb, mutton, pork or veal (historically used also of the neck portion)) dates from the mid sixteenth century and is of uncertain origin but was probably based upon either (1) the cuts being placed on some sort or rack for preparation or (2) having some sort or resemblance to “a rack”.  Rack is a noun & verb, racker is a noun, racking is a noun, verb & adjective, racked is a verb and rackingly is an adverb; the noun plural is racks.

Lindsay Lohan in her natural habitat: with clothes rack, rendered as comic book character by Vovsoft.

In idiomatic use, the best known include “racking one’s brains” (thinking hard), “going to rack and ruin” (to decay, decline, or become destroyed”, “on the rack” (originally a reference to the torture in progress, later adopted figuratively to describe a state of intense mental or physical suffering, torment, or strain) and “racked with pain” (again an allusion to the consequences of being “racked” “on the rack”).  The “rack” as a description of a woman’s breasts is one in a long list of slang terms for that body part and dictionaries of slang are apparently divided on where it’s the breasts, genitals or buttocks which have provided the most inspiration for the creation of such forms.  The Australian slang “rack off” is an alternative to the many other forms popular in the country used to mean “please go away” including “sod off”, “piss off”, “fuck off”, “bugger off” etc; depending on context and tone of voice, these can range from affectionate to threatening.  The term “clothes rack” was once used to describe attractive women whose only function in public appearances appeared to be being conspicuously well-dressed.

Luggage rack & ski rack page in the 1968 Chrysler Parts Accessories Catalog (left) and promotional images for the 1968 Chrysler Town and Country (right).  Because the full-sized US station wagons could be fitted with a third seat in the back compartment (thus becoming eight-seaters), the roof-rack was sometime an essential fitting.

In transport, luggage racks were among the earliest “accessories” in that they were additions to hand & horse-drawn carts and carriages which enabled more stuff to be carried without reducing the passenger-carrying capacity.  There were “roof racks” and “trunk racks”, both there for the purpose of carrying trunks, secured usually with leather straps.  The most obvious carry-over to motorized vehicles was the roof-rack, still a popular fitting and still sometimes fitted as standard equipment to certain station wagons (estate cars).

1972 De Tomaso Pantera.

Although it wouldn’t have been something the designer considered, the mid-engined De Tomaso Pantera (1971-1992) had a rear section defined by buttresses which made it so suited to the installation of a luggage rack that Gran Turismo (an after-market accessories supplier) produced one which was as elegant as any ever made.  Because of the location directly behind the rear window, when loaded it obviously would have restricted rearward visibility so in certain jurisdictions doubtlessly it would have been declared unlawful but if one lives somewhere more permissive, it remains a practical apparatus.  Ironically, the Pantera had probably the most capacious frunk (a front mounted trunk (boot)) ever seen in a mid-engined sports car and one easily able to accommodate the luggage the car’s two occupants were likely to need for a weekend jaunt.  Even if superfluous however, in the collector market it’s an interesting period piece and well-designed; easily removed for cleaning, the four mounting brackets remain affixed to the deck lid.

1973 Chrysler Newport two-door hardtop (left) and 1973 Triumph Stag (right).

Larger cars of course carried more than two and if they travelled over distances, usually they carried luggage.  The full-sized US cars of the early 1970s were very big and had a lot of trunk space but many, with bench seats front and rear were configured as genuine six-seaters and that could mean a lot of luggage.  Accordingly, both the manufacturers and after-market suppliers in the era offered a range of luggage racks.  Upon debut, the lovely but flawed Triumph Stag (1970-1978) was a much-praised design which offered the pleasure of open-air motoring with the practicality of four seats (although those in the rear were best suited for children) but the sleek, low lines did mean trunk space was not generous and luggage racks were a popular fitting.

1959 Austin-Healey Sprite (left) and 1971 C3 Chevrolet Corvette Convertible LS5 454/365 (right).

There have been cars (and not all of them were sports cars) with no trunk lid.  In the case of the Austin-Healey Sprite (1958-1971), the lack of the structure on the early versions (1958-1961) was a cost-saving measure (the same rationale that saw the planned retractable headlights replaced by the distinctive protuberances atop the hood (bonnet) which lent the cheerful little roadster its nickname (bugeye in North American and frogeye in the UK & most of the Commonwealth).  It had additional benefits including weight reduction and improved structural rigidity but the obvious drawback was inconvenience: to use the trunk one had to reach through the gap behind the seats.  It was easy to see why luggage racks proved a popular accessory, sales of which continued to be strong even when later versions of the Sprite (1961-1971) and the badge-engineered companion model (the MG Midget (1961-1980)) gained a trunk lid.

Have trunk, can travel: Nor Cal’s (of Stockton, California) trunk lid kit for Austin Healy Sprite, May 1961.  Note the standard-sized license plate; the Sprite really was small.

However, noting Austin-Healey’s cost-cutting meant the Series 1 Sprite’s trunk came lidless, modern commerce quickly saw a gap (technically also a “lack of gap”) in the market and “lid kits” soon appeared.  Advertised as meaning “no more acrobatic maneuvers when loading luggage”, mention was made also of an installation making the spare tyre easier to reach, a matter in the early 1960s of some significance because tyres then were not as durable and punctures more frequent.  The advertising copy was selective in that it mentioned “no welding necessary” but neglected to point out an owner would need to cut the required hole; presumably, that would have been thought obvious.  It was a proper trunk lid in that it was lockable and said also to be “waterproof”, the latter a quality owners of British sports cars really didn’t expect so the novelty would have been a selling point.  For those Sprite owners whose family had gained a child, the improved accessibility to the trunk would have been most helpful because, as parents know, going anywhere with an infant requires carrying a large bag of stuff.  They might also have been attracted to the "baby seat" available as an accessory from the Healey factory; it was a design which would now be thought extraordinary (others might use a different term) but at the time it was just the way things were done.  

1963 Corvette (C2) Coupe. This was one of GM's official publicity stills and one can see why the decision was taken not to include a trunk lid but the absence enhanced structural integrity and it was this Chevrolet chose to emphasize.

Curiously, the Chevrolet Corvette (C1, 1953-1962) did have a trunk lid but when the second generation (C2, 1962-1967) was released for the 1963 model year, it had been removed and not until the fifth generation (C5, 1997-2004) did one again appear.  Access to the storage compartment in the "non-trunk" years could thus demand some athleticism but people didn't buy Corvettes on the basis on the basis of their utility as baggage carriers.  By the the twenty-first century, the Corvette's luggage rack moment mostly had passed but there were still those who retro-fitted them as a "period accessory" even though, in the modern collector market, the very sight of the things seems to upset some.

Racks on Porsche 911s.

Variations of the theme: ski rack (left), bike rack (centre) and surfboard rack (right).  The luggage rack has proved an adaptable platform and specialist versions are available for many purposes but in many cases the same basic structure can be used as a multi-purpose device with “snap-on” fittings used to secure objects of different shapes.  The Porsche 911 (in production since 1964) was an early favorite on the ski fields because of the combination of and air-cooled engine and the rear-engine/rear wheel drive configuration which provided good traction in icy conditions.

Mercedes-Benz and the ski rack.

Mercedes-Benz in the 1950s offered a variety of ski racks as a factory option and one available for the 190 SL (W121, 1955-1963, left) was thoughtful in that it permitted access to the trunk (boot), even if the skis were in place.  The design used for the 300 SL Roadster (W198-2, 1957-1963, right) was more conventional (and restrictive although it could be used with the soft-top up or down or with the hard-top installed but the unique, doors on the 300 SL Coupé (W198-1 (Gullwing), 1954-1957, centre) precluded the usual placement and the skis had to be centre-mounted.

Maserati Mistral with ski rack, advertising copy for ZEGNA’s Winter 2025 collection.

Most ski racks were fitted using clamps or were in some way bolted to the bodywork or bumpers but for those with sufficient faith in the physics, some could be attached to glass with rubberized suction-cups.  These were best suited to “fastback” sports cars with rear windows which sloped at an acute angle.  Tuned for top-end power for high-speed touring, the Mistral probably wasn't an ideal choice for snow country but it certainly looked the part and contemporary testers praised the quality of the heater although the optional air-conditioning was found less impressive.

With over 2,200 coupés and spyders (roadsters) made between 1957-1964, the 3500 GT (Tipo AM101) had proved Maserati's most successful road car and although the volume may not seem high for close to eight years effort, the high-priced machines were much more profitable than the factory's earlier A6 (1947-1956) which was much more bespoke; in some years, fewer than a dozen were made.  By the early 1960s more 3500s had been made that all previous Maseratis (for road or track) combined but the car was looking dated and in some aspects the body construction owed more to the traditions of the 1930s than modern practice.  Its replacement was the Mistral (Tipo AM109) which, in an increasingly crowded market, proved a success, 844 coupés and 124 spiders made in a run between 1963-1970.  The Mistral was very much a transitional model, its lines hinting at future directions while it was the last Maserati fitted with the classic, twin-spark, DOHC (double overhead camshaft) straight-6 derived from the unit the company had used in sports car racing and with which it won the 1957 Formula One World Championship.  Produced simultaneously with the company’s new V8 models (Quattroporte (Tipo AM107, 1963-1969), Mexico (Tipo AM112, 1966-1972) and Ghibli (Tipo AM115, 1967-1973)), it was styled by Pietro Frua (1913- 1983) who must have fallen in love with the shape because it was for a while his house’s signature design language, variations on the theme appearing on both the AC 428 Frua (1965–1973) and the early Monteverdi High Speed 375.  Not all were happy with this recycling, lovely though the results were.

Markers of the state of civilization: Gun rack in the back window of pickup truck (left) and silver plate toast rack by Daniel & Arter of Birmingham, circa 1925 (right).

The toast rack has been in use since at least the 1770s and, like the butter knife, is one of the markers of living a civilized life.  That aside, their functionality lies in the way they provide a gap between the slices, allowing water vapour to escape, preventing it condensing into adjacent slices and making them soggy while also maintaining a buffer of warm air between so the cooling process is slowed.  In the way of such things, there have over the years been designs ranging from the starkly simple to the extravagant but some of the most admired are those from the art deco era of the inter-war years.

The gun rack in the back of a pickup truck is now a classic MAGA (Make America Great Again) look but the devices have been in use for decades and were always popular in rural areas with a tradition of hunting.  Whether such things are lawful depends on the jurisdiction.  In the US, some states have an “open carry” law which means one is free to carry certain firearms unconcealed and this includes gun racks which are similarly unrestricted; in states where an “open carry” permit is required, a separate permit is required for a gun rack to be used in a vehicle while in jurisdictions with no “open carry” legislation, gun racks are also banned except for those able to obtain a specific exemption.  So, it can be that travelling across state lines can involve some additional effort, even if one is authorized to carry a firearm in both placed.  Usually, this demands the weapon being unloaded and encased in an area inaccessible to both driver and passengers.

The rack as a marker of the state of civilization: Cuthbert Simpson, Tortured on the Rack in the Tower of London (1558), published in from Old England: A Pictorial Museum (1847) and reprinted in The National And Domestic History Of England by William Aubrey (circa 1890).

The most famous of the many apparatus of torture which proliferated during the Middle Ages (and beyond), the rack was an interrogation tool which remained in use until the eighteenth century.  Although the rack is most associated with the Roman Catholic Church's Inquisition, it was popular also in England as a device to extract confessions to various crimes, especially heresy.  The designers were imaginative and racks were produced in many forms including vertical devices and wheels but the classic version was a flat, bed-like structure, made with an open, rectangular wooden frame with rollers or bars at each end to which the wrists and ankles of the accused (or “the guilty” as often they were known) were secured.  The rollers moved in opposite directions by the use of levers with the victim’s joints slowly and painfully separated.  Among the rack "operators", it's believed many really enjoyed their work; for some in the Inquisition, it clearly was a calling.

RACK is used as an acronym, one being “Random Act of Conditionless Kindness” which seems not substantively different from the better known “random act of kindness” although presumably it imparts some depth of emphasis, given random acts of conditional kindness are likely the more commonly observed phenomenon.  In certain sub-sets of the BDSM (Bondage, Discipline (or Dominance) & Submission (or Sadomasochism) community, RACK means either “Risk-Aware Consensual Kink” or “Risk-Accepted Consensual Kink).  Both describe a permissive attitude towards conduct which is to some degree “risky”, undertaken on the basis of “a voluntary assumption of risk”.  In that it differs from the tastes of BDSM’s SSC (Safe, Sane & Consensual) sub-set which restricts it proclivities to things “not risky”.  The RACK practitioners acknowledge the difficulties inherent in their kinks and do not claim to make a distinction between “safe” & “unsafe” but rather between “safer” and “less safe” (ie degrees of danger).  What this means is that in extreme cases there are potential legal consequences because while the implication of RACK is that to some degree one can “contract out” of the statutory protections (citing a voluntary assumption of risk) usually available in such interactions, in the case of serious injury or death, the usual legal principles would apply.

Tiara

Tiara (pronounced tee-ar-uh, tee-ahr-uh or tee-air-uh (non-U))

(1) A jeweled, usually semi-circular, ornamental coronet worn by women.

(2) In the Roman Catholic Church. a head-piece consisting of three coronets on top of which is an orb and a cross, once worn by the pope, or carried before him during certain non-liturgical functions; a symbol of the position, authority and dignity of the pope.

(3) A high headdress, or turban, worn by the ancient Persian Kings and other men of rank.

1545–1555: An English borrowing, via Italian, from the Latin tiara (headdress) from the Ancient Greek tiā́ra & the Ionic τιήρης (tiḗrēs) (a kind of turban).  The etymology of the Latin and Greek forms is wholly unknown.  In English, there was an earlier anglicized form tiar, attested from the 1510s and tiara became common by the eighteenth century.  Tiara is a noun, tiaraed is a verb & adjective and tiaraless, betiared & tiaralike are adjectives (tiaraesque seems not to have appeared); the noun plural is tiaras.

The Triple Tiara

Sultan Süleyman the Magnificent (circa 1545), woodcut by an unknown Venetian artist.  Historians suspect the depiction of the splendid jewel-studded helmet was substantially accurate but the object may simply have been too heavy safely to wear for all but static, set-piece events, the risk of injury to the neck too great.  Still, he had four tiers so: "Take that pope!"

The papal triple tiara is the final form of a crown which worn by popes of the Roman Catholic Church between the eighth century and 1963.  Traditionally it was worn for their coronation but no pontiff has been so crowned since Paul VI (1897-1978; pope 1963-1978) in 1963 and his abandonment was in the spirit of the Second Vatican Council (Vatican II, 1962-1965).  The name tiara refers to the entire headgear and it has used a three-tiered form since a third crown was added during the Avignon Papacy (1309–1378) and it's referred to also as the triregnum, triregno or Triple Crown.  In a piece of one-upmanship (perhaps one tiership), Suleiman I (Süleyman the Magnificent, 1494-1566, Sultan of the Ottoman Empire 1520-1566) commissioned from Venice a four tier helmet to show, in addition to the authority claimed by popes, he could add the symbol of his imperial power.  Often put on display as the centrepiece of Ottoman regalia to impress visitors, there's no documentary evidence the sultan ever wore the four layer tiara, crowns not part of the tradition and, fashioned from gold and gemstones, it would anyway have been extraordinarily heavy.

Lindsay Lohan, the wandering daughter who ran off to Dubai in Lynn Kiracofe tiara, W Magazine photo- shoot, April 2005.

A representation of the triregnum combined with two crossed keys of Saint Peter continues to be used as a symbol of the papacy and appears on papal documents, buildings and insignia.  Remarkably, there’s no certainty about what the three crowns symbolize.  Some modern historians link it to the threefold authority of the pope, (1) universal pastor, (2) universal ecclesiastical jurisdiction and (3) temporal power.  Others, including many biblical scholars, interpret the three tiers as meaning (1) father of princes and kings, (2) ruler of the world and (3) vicar of Christ on Earth, a theory lent credence by the words once used when popes were crowned:  Accipe tiaram tribus coronis ornatam, et scias te esse patrem principum et regum, rectorem orbis in terra vicarium Salvatoris nostri Jesu Christi, cui est honor et gloria in saecula saeculorum (Receive the tiara adorned with three crowns and know that thou art father of princes and kings, ruler of the world, vicar on earth of our Savior Jesus Christ, to whom is honor and glory for ever and ever).

Escutcheons of the Holy See (left) and the Secret Society of the Les Clefs d’Or (right).

Curiously, the brace of crossed keys appear also in the symbols used the Secret Society of the Les Clefs d’Or (The Golden Keys) which is the international association of hotel concierges; the similarities between their escutcheon and that of the Holy See are quite striking.  According to the Roman Catholic Church's Inquisition (the old Holy Office, now officially known as the Dicastery for the Doctrine of the Faith (DDF)), the crossed keys are a symbol of the Papacy's authority and power, representing the "keys of heaven" that in the New Testament were passed from Jesus Christ to Saint Peter.  In Roman Catholic tradition, Peter was appointed by Jesus as the first Pope and given the keys to symbolize his authority to forgive sins and to make decisions binding on behalf of the Church (this the theological basis of what in canon law was codified in the nineteenth century as papal infallibility).  The two keys thus symbolize the pope's two powers: (1) spiritual power (represented by the silver key) and (2) temporal power (represented by the gold key).  The latter power manifested in a most temporal manner during the thousand-odd years (between the eighth & nineteenth centuries) when the authority of the papal absolute theocracy extended to rule and govern the Papal States (which were interpolated into the modern state of Italy upon Italian unification (1859-1870).  Claiming (officially) only temporal dominion, the Secret Society of the Les Clefs d'Or logo depicts both their keys in gold, one said to symbolize the concierge's role in unlocking the doors to the world for their guests, the other their ability to unlock the secrets of their destination and provide insider knowledge and recommendations (restaurant bookings, airport transfers, personal service workers of all types etc).  However, neither the Vatican nor the Les Clefs d’Or have ever denied intelligence-sharing, covert operations, common rituals or other links.

Documents in the Vatican Archive suggest by 1130 the papal tiara had been modified to become a conventional (and temporal) symbol of sovereignty over the Papal States.  In 1301, during a dispute with Philip IV (Philip the Fair, 1268–1314, King of France 1285-1314), Boniface VIII (circa 1230–1303; pope 1294-1303) added a second layer to represent a pope’s spiritual authority being superior to an earthly king’s civil domain.  It was Benedict XII (1285–1342; pope 1334-1342 (as the third Avignon pope)) who in 1342 who added the third, said to symbolize the pope’s moral authority over all civil monarchs, and to reaffirm Avignon’s possession.  A changing world and the loss of the Papal States in 1970 deprived the triple crown of much temporal meaning but the silver tiara with the three golden crowns remained to represent the three powers of the Supreme Pontiff: Sacred Order, Jurisdiction and Magisterium.

Coronation of Paul VI (1897-1978; pope 1963-1978), 30 June 1963 (left), the triple tiara created for Pius XII (1876-1958; pope 1939-1958) (centre) and the coronation of Pius XII, 12 March, 1939 (right).  Historians sometimes describe the reign of Pius XII as "the last imperial papacy". 

Not since 1963 has a pope worn the triple crown.  Then, Paul VI (1897-1978; pope 1963-1978), at the end of his coronation ceremony, took the tiara from his head and, in what was said to be a display of humility, placed it on the altar.  The act may have been thought symbolic of the winds of change being brought by the Second Vatican Council (Vatican II, 1962-1965, published 1970) and it was certainly theologically defensible but cynical observers (and among Vaticanologists there are a few) would soon come to interpret as emblematic of Paul VI's pontificate.  Apparently, he'd not wanted to be crowned but acceded to the wishes of the tradition-bound curia and in a compromise, "took it off shortly after it was put on".  Thus proceeded the next 15 years during which Paul came to be known as the "Vatican's Hamlet" because he always found it hard to make a decision.  However, in a practical expression of his act of humility, the triple tiara was auctioned, the money raised used for missionary work in Africa although, keeping things in house, the winning bidder was the well-funded (this was before the need to pay compensation to victims of clerical sex-abuse) Archdiocese of New York.  That allocation proved a good investment because Africa has been a growth market for the church, unlike increasingly Godless Europe and elsewhere in the West.  Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) and Francis (b 1936; pope since 2013) received triple tiaras as gifts but neither wore them.  Benedict’s, in a nice ecumenical touch, was made by Bulgarian craftsmen from the Orthodox Church in Sofia, a gesture in the name of Christian unity.  Benedict would have appreciated that, having always kept a candle burning in the window, there to guide home the wandering daughter who ran off to Constantinople.

The wandering film star who ran off to Monte Carlo

Former Hollywood film star Grace Kelly (1929–1982; Princess Consort of Monaco 1956-1982), in tiara, pre-wedding photograph, 1956 (a necklace with stones arrayed in this form is styled a Golconda).  The car is a 1963 Thunderbird Limited Edition Landau, known colloquially as the “Princess Grace Edition”.  When the engagement was announced, the joke soon circulated: "When they're a little girl they want to be a princess, when they grow up they want to be a film star, when they're a film star they want to be a princess."

Princess Grace of Monaco was often seen in a tiara (they’re part of the “princess uniform”) and in the same year Paul IV was the last pope to be crowned, she had the pleasure of learning a Ford produced in the US had picked up the nickname “Princess Grace Edition” although Ford’s internal project name was “Thunderbird Special Edition Principality of Monaco” and it was released as a 1963 model with the name: “Thunderbird Limited Edition Landau”.  Produced in a run of 2000 during the final season of the third-generation Thunderbird (1961-1963), all but one were virtually identical and each received an individually number plaque.  The connection to principality & princess wasn’t tenuous because she was consulted on the color scheme and her husband (Rainier III (Rainier Louis Henri Maxence Bertrand Grimaldi, (1923–2005; Prince of Monaco 1949-2005)) received Landau Number 1 as a gift; presumably that was the quid pro quo (from the Latin quid prō quō (literally “something for something”).  The prince’s Landau Number One differed in a number of details from the other 1999 in the run in that it was a one-off build for the prince, one difference being the inclusion of the crest of the Principality of Monaco on a plaque made of silver while all others had one of chrome-plated steel with a brushed aluminum insert faceplate.  In the usual way such “limited edition” plaques were done, they were emblazoned with “Limited Edition Thunderbird Landau”, the serial number (nnnn of 2000) “World Premiere” & “Principality of Monaco”, the latter in a script font.  The features which distinguished the Landau were:

Corinthian White paint.
Dark Rose Beige vinyl roof.
Pearl White leather interior trim with Rose Beige seats.
Dark Rose Beige padded dash & carpet, including carpeted door trim panel bottoms (the only 1963 Thunderbirds so equipped).
Simulated Rosewood trim on console, instrument panel, door panels, rear quarter trim panels, and seat back emblem inserts (these were otherwise in color-keyed vinyl).
Deluxe wheel covers.
Rear fender skirts (spats).
White steering wheel with unique centre-boss insert.
White background on S-Bar inserts.
Monotone vinyl door and quarter trim panels.

Vogue Magazine’s six-page advertising feature, 15 February, 1963.

The princess apparently suggested beige for the paintwork on the basis it was her favorite color but there was some debate within the corporation and the planning committee’s minutes of the final meeting on 19 September, 1962 record the decision “unanimously” was taken to opt for Corinthian White over Rose Beige, that rationale being the combination was close to that used on Monaco’s national flag.  The “Dark Rose Beige” used for the vinyl roof was a noticeably deeper hue than the “Rose Beige” offered as a RPO (regular production option) on the standard Thunderbird line and was really closer to maroon while the shade used for the seats, while lighter than the roof, was darker than what was available for other Thunderbirds.  The roof covering on the Limited Edition Landaus proved prone to fading if exposed to strong sunlight and within a few years, many appeared a very different color.

Vogue Magazine fashion feature, 15 February, 1963.

Vogue took advantage of the having the Thunderbird available by using it as a backdrop for the photo-shoot to accompany “The rush to little suède dazzlers; to leathers that mix”; the location was Cagnes-sur-Mer, a fortified medieval town on the Riviera “with all the appropriate thrall.”  The model’s dress and set-in belt were by Highlander, the cardigan of Fleming-Joffe leather, the handbag by Roger Model, jewellery by Peladan with Bryans stockings inside Aimont red shoes.  Vogue however got the car wrong in captioning the picture: “Ford's creamy, brand-new, limited-edition Thunderbird Landau.  It's turned out in such small numbers that each car has a number; all are a cool cream-white, inside and out, roofed, carpeted and accented in warm tones of rosy beige.”  The Limited Edition Landaus had the Rose Beige upholstery while the car in the photo-shoot was a regular production model.  The other curiosity is a smiling model, a rare sight in fashion photography where the usual expression is the “studied neutral” which catwalk models are trained to use.  

The connection to European royalty had obvious sales appeal but Ford’s motivation was pragmatic, sales of the “Bullet Bird” (the nickname an allusion to the projectile-like lines) having declined in 1962 and with it being common knowledge a new version was scheduled for 1964, what was needed was something to stimulate demand, thus the conjuring up of a “package”, a tactic on which the industry would increasingly come to rely.  This choice of a “Monaco” theme was to take advantage of Ford Falcons competing in that year’s Monte Carlo Road Rally (one Falcon would win its class) and the principality was thus used as the location for the photo-shoot for that year’s mid season (the so-called “1963-½” cars) publicity campaign including the Galaxie 500 XL Sports Hardtop, Fairlane Sports Coupe and Falcon Hardtop; having a prince and princess associated with the fanciest Ford of all was icing on the gingerbread.  While all the Ford’s shipped to Monaco to be photographed for what was dubbed the “Ford Command Performance campaign” were variously red, white or blue, the princess’s preferred beige was seen because Ford also sent one Sandshell Beige Falcon Squire Station Wagon; converted to a ambulance, it was donated to the Red Cross to be used during the running of the rally.

Chair

Chair (pronounced cherr)

(1) A seat, especially if designed for one person, usually with four legs (though other designs are not uncommon) for support and a rest for the back, sometimes with rests for the arms (as distinct from a sofa, stool, bench etc).

(2) Something which serves as a chair or provides chair-like support (often used in of specialized medical devices) and coined as required (chairlift, sedan chair, wheelchair etc).

(3) A seat of office or authority; a position of authority such as a judge.

(4) In academic use, a descriptor of a professorship.

(5) The person occupying a seat of office, especially the chairperson (the nominally gendered term “chairman” sometimes still used, even of female or non-defined chairs).

(6) In an orchestra, the position of a player, assigned by rank (1^st chair, 2^nd chair etc).

(7) In informal use, an ellipsis of electric chair (often in the phrase “Got the chair” (ie received a death sentence)).

(8) In structural engineering, the device used in reinforced-concrete construction to maintain the position of reinforcing rods or strands during the pouring operation.

(9) In glass-blowing, a glassmaker's bench having extended arms on which a blowpipe is rolled in shaping glass.

(10) In railroad construction, a metal block for supporting a rail and securing it to a crosstie or the like (mostly UK).

(11) To place or seat in a chair.

(12) To install in office.

(13) To preside over a committee, board, tribunal etc or some ad hoc gathering; to act as a chairperson.

(14) To carry someone aloft in a sitting position after a triumph or great achievement (mostly UK and performed after victories in sport).

(15) In chemistry, one of two possible conformers of cyclohexane rings (the other being boat), shaped roughly like a chair.

(16) A vehicle for one person; either a sedan chair borne upon poles, or a two-wheeled carriage drawn by one horse (also called a gig) (now rare).

(17) To award a chair to the winning poet at an eisteddfod (exclusive to Wales).

1250-1300: From the Middle English chayer, chaire, chaiere, chaere, chayre & chayere, from the Old French chaiere & chaere (chair, seat, throne), from the Latin cathedra (seat), from the Ancient Greek καθέδρα (kathédra), the construct being κατά (katá) (down) + ἕδρα (hédra) (seat).  It displaced the native stool and settle, which shifted to specific meanings.  The twelfth century modern French chaire (pulpit, throne) in the sixteenth century separated in meaning when the more furniture came to be known as a chaise (chair).  Chair is a noun & verb and chaired & chairing are verbs; the noun plural is chairs.

The figurative sense of "seat of office or authority" emerged at the turn of the fourteenth century and originally was used of professors & bishops (there once being rather more overlap between universities and the Church).  That use persisted despite the structural changes in both institutions but it wasn’t until 1816 the meaning “office of a professor” was extended from the mid-fifteenth century sense of the literal seat from which a professor conducted his lectures.  Borrowing from academic practice, the general sense of “seat of a person presiding at meeting” emerged during the 1640s and from this developed the idea of a chairman, although earliest use of the verb form “to chair a meeting” appears as late as 1921.  Although sometimes cited as indicative of the “top-down” approach taken by second-wave feminism, although it was in the 1980s that the term chairwoman (woman who leads a formal meeting) first attained general currency, it had actually been in use since 1699, a coining apparently thought needed for mere descriptive accuracy rather than an early shot in the culture wars, chairman (occupier of a chair of authority) having been in use since the 1650s and by circa 1730 it had gained the familiar meaning “member of a corporate body appointed to preside at meetings of boards or other supervisor bodies”.  By the 1970s however, the culture wars had started and the once innocuous “chairwoman” was to some controversial, as was the gender-neutral alternative “chairperson” which seems first to have appeared in 1971.  Now, most seem to have settled on “chair" which seems unobjectionable although presumably, linguistic structuralists could claim it’s a clipping of (and therefore implies) “chairman”.

Chairbox offers a range of “last shift” coffin-themed chairs, said to be ideal for those "stuck in a dead-end job, sitting on a chair in a cubicle".  The available finishes include walnut (left) and for those who enjoy being reminded of cremation, charcoal wood can be used for the seating area (right).  An indicative list price is Stg£8300 (US$10,400) for a Last Shift trimmed in velvet.

The slang use as a short form of electric chair dates from 1900 and was used to refer both to the physical device and the capital sentence.  In interior decorating, the chair-rail was a timber molding fastened to a wall at such a height as would prevent the wall being damaged by the backs of chairs.  First documented in 1822, chair rails are now made also from synthetic materials.  The noun wheelchair (also wheel-chair) dates from circa 1700, and one so confined is said sometimes to be “chair bound”.  The high-chair (an infant’s seat designed to make feeding easier) had probably been improvised for centuries but was first advertised in 1848.  The term easy chair (a chair designed especially for comfort) dates from 1707.  The armchair (also arm-chair), a "chair with rests for the elbows", although a design of long-standing, was first so-described in the 1630s and the name outlasted the contemporary alternative (elbow-chair).  The adjectival sense, in reference to “criticism of matters in which the critic takes no active part” (armchair critic, armchair general etc) dates from 1879.  In academic use, although in the English-speaking world the use of “professor” seems gradually to be changing to align with US practice, the term “chair” continues in its traditional forms: There are chairs (established professorships), named chairs (which can be ancient or more recent creations which acknowledge the individual, family or institution providing the endowment which funds the position), personal chairs (whereby the title professor (in some form) is conferred on an individual although no established position exists), honorary chairs (unpaid appointments) and even temporary chairs (which means whatever the institution from time-to-time says it means).

In universities, the term “named chair” refers usually to a professorship endowed with funds from a donor, typically bearing the name of the donor or whatever title they nominate and the institution agrees is appropriate.  On rare occasions, named chairs have been created to honor an academic figure of great distinction (usually someone with a strong connection with the institution) but more often the system exists to encourage endowments which provide financial support for the chair holder's salary, research, and other academic activities.  For a donor, it’s a matter both of legacy & philanthropy in that a named chair is one of the more subtle and potentially respectable forms of public relations and a way to contribute to teaching & research in a field of some interest or with a previous association.

Professor Michael Simons (official photograph issued by Yale University's School of Medicine).

So it can be a win-win situation but institutions do need to practice due diligence in the process of naming or making appointments to named chairs as a long running matter at Yale University demonstrates.  In 2013, an enquiry convened by Yale found Professor Michael Simons (b 1957) guilty of sexual harassment and suspended him as Chief of Cardiology at the School of Medicine.  Five years on, the professor accused Yale of “punishing him again” for the same conduct in a gender-discriminatory effort to appease campus supporters of the #MeToo movement which had achieved national prominence.  That complaint was prompted when Professor Simons was in 2018 appointed to, and then asked to resign from a named chair, the Robert W Berliner Professor of Medicine, endowed by an annual grant of US$500,000 from the family of renal physiologist, Robert Berliner (1915-2002).  Professor Simons took his case to court and early in 2024 at a sitting of federal court ruled, he obtained a ruling in his favour, permitting him to move to trial, Yale’s motion seeing a summary judgment in all matters denied, the judge fining it appropriate that two of his complaints (one on the basis of gender discrimination in violation of Title VII of the Civil Rights Act (1964) and one under Title IX of the Education Amendments Act (1972)) should be heard before a jury.  The trial judge noted in his judgment that there appeared to be a denial of due process in 1918 and that happened at a time when (as was not disputed), Yale was “the subject of news reports criticizing its decision to reward a sexual harasser with an endowed chair.”

What the documents presented in Federal court revealed was that Yale’s handling of the matter had even within the institution not without criticism.  In 2013 the University-Wide Committee on Sexual Misconduct found the professor guilty of sexual harassment and he was suspended (but not removed) as chief of cardiology at the School of Medicine.  Internal documents subsequently leaked to the New York Times (NYT) revealed there were 18 faculty members dissatisfied with that outcome and a week after the NYT sought comment from Yale, it was announced Simons would be removed from the position entirely and in November 2014, the paper reported that Yale had also removed him from his position as director of its Cardiovascular Research Center.  Simons alleges that these two additional actions were taken in response to public reaction to the stories published by the NYT but the university disputed that, arguing the subsequent moves were pursuant to the findings of an internal “360 review” of his job performance.  In 2018, Simons was asked to relinquish the Berliner chair on the basis he would be appointed instead to another endowed chair.  In the documents Simons filed in Federal Court, this request came after “one or more persons … sympathetic to the #MeToo movement” contacted the Berliner family encouraging them to demand that the University remove Simons from the professorship, prompting Yale, “fearing a backlash from the #MeToo activists and hoping to placate them,” to “began exploring” his removal from the chair.

School of Medicine, Yale University, New Haven, Connecticut, USA.

Later in 2018, Simons was duly appointed to another named chair, prompting faculty members, students and alumni to send an open letter to Yale’s president expressing “disgust and disappointment” at the appointment.  The president responded with a formal notice to Simmons informing him he had 24 hours to resign from the chair, and Simmons also alleges he was told by the president of “concerns” the institution had about the public criticism.  In October 2019, Simons filed suit against Yale (and a number of individuals) on seven counts: breach of contract, breach of the implied warranty of fair dealing, wrongful discharge, negligent infliction of emotional distress, breach of privacy, and discrimination on the basis of gender under Title VII of the Civil Rights Act of 1964 and Title IX of the Education Amendments of 1972.   Three of these (wrongful discharge, negligent infliction of emotional distress and breach of privacy) were in 2020 struck-out in Federal Court and this was the point at which Yale sought summary judgment for the remainder.  This was partially granted but the judge held that the matter of gender discrimination in violation of Title VII and Title IX needed to be decided by a jury.  A trial date has not yet been set but it will be followed with some interest.  While all cases are decided on the facts presented, it’s expected the matter may be an indication of the current state of the relative strength of “black letter law” versus “prevailing community expectations”.

Personal chair: Lindsay Lohan adorning a chair.

The Roman Catholic Church’s dogma of papal infallibility holds that a pope’s rulings on matters of faith and doctrine are infallibility correct and cannot be questioned.  When making such statements, a pope is said to be speaking ex cathedra (literally “from the chair” (of the Apostle St Peter, the first pope)).  Although ex cathedra pronouncements had been issued since medieval times, as a point of canon law, the doctrine was codified first at the First Ecumenical Council of the Vatican (Vatican I; 1869–1870) in the document Pastor aeternus (shepherd forever).  Since Vatican I, the only ex cathedra decree has been Munificentissimus Deus (The most bountiful God), issued by Pius XII (1876–1958; pope 1939-1958) in 1950, in which was declared the dogma of the Assumption; that the Virgin Mary "having completed the course of her earthly life, was assumed body and soul into heavenly glory".  Pius XII never made explicit whether the assumption preceded or followed earthly death, a point no pope has since discussed although it would seem of some theological significance.  Prior to the solemn definition of 1870, there had been decrees issued ex cathedra.  In Ineffabilis Deus (Ineffable God (1854)), Pius IX (1792–1878; pope 1846-1878) defined the dogma of the Immaculate Conception of the Blessed Virgin Mary, an important point because of the theological necessity of Christ being born free of sin, a notion built upon by later theologians as the perpetual virginity of Mary.  It asserts that Mary "always a virgin, before, during and after the birth of Jesus Christ", explaining the biblical references to brothers of Jesus either as children of Joseph from a previous marriage, cousins of Jesus, or just folk closely associated with the Holy Family.

Technically, papal infallibility may have been invoked only the once since codification but since the early post-war years, pontiffs have found ways to achieve the same effect, John Paul II (1920–2005; pope 1978-2005) & Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) both adept at using what was in effect a personal decree a power available to one who sits at the apex of what is in constitutional terms an absolute theocracy.  Critics have called this phenomenon "creeping infallibility" and its intellectual underpinnings own much to the tireless efforts of Benedict XVI while he was head of the Inquisition (by then called the Congregation for the Doctrine of the Faith (CDF) and now renamed the Dicastery for the Doctrine of the Faith (DDF)) during the late twentieth century.  The Holy See probably doesn't care but DDF is also the acronym, inter-alia, for "drug & disease free" and (in gaming) "Doom definition file".  There's also the DDF Network which is an aggregator of pornography content.

The “chair” photo (1963) of Christine Keeler (1942-2017) by Hong Kong Chinese photographer Lewis Morley (1925-2013) (left) and Joanne Whalley-Kilmer (b 1961) in Scandal (1989, a Harvey Weinstein (b 1952) production) (centre).  The motif was reprised by Taiwanese-American photographer Yu Tsai (b 1975) in his sessions for the Lindsay Lohan Playboy photo-shoot; it was used for the cover of the magazine’s January/February 2012 issue (right).  Ms Lohan wore shoes for some of the shoot but these were still "nudes" because "shoes don't count"; everybody knows that. 

The Profumo affair was one of those fits of morality which from time-to-time would afflict English society in the twentieth century and was a marvellous mix of class, sex, spying & money, all things which make an already good scandal especially juicy.  The famous image of model Christine Keeler, nude and artfully positioned sitting backwards on an unexceptional (actually a knock-off) plywood chair, was taken in May 1963, during the moral panic over the disclosure the young lady simultaneously was enjoying the affection of both a member of the British cabinet and a Soviet spy.  John Profumo (1915-2006) was the UK’s Minister for War (the UK cabinet retained the position until 1964 although it was dis-established in the US in 1947) who, then 46, was found to be conducting an adulterous affair with the then 19 year old topless model at the same time she (presumably as her obviously crowded schedule permitted) fitted in trysts with a KGB agent, attached to the Soviet embassy with the cover of naval attaché.  Although there are to this day differing interpretations of the scandal, there have never been any doubts this potential Cold-War conduit between Moscow and Her Majesty’s Secretary of State for War represented at least a potential conflict of interest.  The fallout from the scandal ended Profumo’s political career, contributed to the fall of Harold Macmillan’s (1894–1986; UK prime-minister 1957-1963) government and was one of a number of the factors in the social changes which marked English society in the 1960s.  Commendably, the former Grenadier Guards captain's sang froid didn't desert him: woken from his sleep to be told the scandal was about to break, he remarked: "Well, at least it was with a woman".  That line was for years quoted approvingly and it was only when the old Etonian's bisexuality became common knowledge it was re-appraised.   

Commercially & technically, photography then was a different business and the “chair” image was the last shot on a 12-exposure film, all taken in less than five minutes at the end of a session which hurriedly had been arranged because Ms Keeler had signed a contract which included a “nudity” clause for photos to be used as “publicity stills” for a proposed film about the scandal.  As things turned out, the film was never released (not until Scandal (1989) one would appear) but the photograph was leaked to the tabloid press, becoming one of the more famous of the era although later feminist critiques would deconstruct the issues of exploitation they claimed were inherent.  Playboy’s editors would not be unaware of the criticism but the use of a chair to render a nude image SFW (suitable for work) remains in the SOP (standard operating procedures) manual.

Contact sheet from photoshoot, Victoria and Albert (V&A) Museum: exhibit E.2830-2016.

Before the “nude” part which concluded the session, two rolls of film had already been shot with the subject sitting in various positions (on the chair and the floor) while “wearing” a small leather jerkin.  At that point the film’s producers mentioned the “nude” clause.  Ms Keeler wasn’t enthusiastic but the producers insisted so all except subject and photographer left the room and the last roll was shot, some of the earlier poses reprised while others were staged, the last, taken with the camera a little further away with the subject in what Mr Morley described as “a perfect positioning”, was the “chair” shot.

The “Keeler Chair” (left) and an Arne Jacobsen Model 3107 (right).

Both chair & the gelatin-silver print of the photograph are now in the collections of London’s Victoria and Albert (V&A) Museum (the photograph exhibit E.2-2002; the chair W.10-2013).  Although often wrongly identified a Model 3107 (1955) by Danish modernist architect & furniture designer Arne Jacobsen (1902-1971), it’s actually an example of one of a number of inexpensive knock-offs produced in the era.  Mr Morley in 1962 bought six (at five shillings (50c) apiece) for his studio and it’s believed his were made in Denmark although the identity of the designer or manufacturer are unknown.  Unlike a genuine 3107, the knock-off has a handle cut-out (in a shape close to a regular trapezoid) high on the back, an addition both functional and ploy typical of those used by knock-off producers seeking to evade accusations of violations of copyright.  Structurally, a 3017 uses a thinner grade of plywood and a more subtle molding.  The half-dozen chairs in Mr Morley’s studio were mostly unnoticed office furniture until Ms Keeler lent one its infamy although they did appear in others of his shoots including those from his session with television personality & interviewer Sir David Frost (1939–2013) and it’s claimed the same chair was used for both.  In London’s second-hand shops it’s still common to see the knock-offs (there were many) described as “Keeler” chairs and Ms Lohan’s playboy shoot was one of many in which the motif has been used.  The obvious choice of pose for Joanne Whalley-Kilmer’s promotional shots for the 1989 film in which she played Ms Keeler, it appeared also on the the covers of the DVD & Blu-ray releases 

Old Smoky, the electric chair once used in the Tennessee prison system, Alcatraz East Crime Museum.  "Old Sparky" was once the preferred but in modern use "the chair" seems to have prevailed.

"Then we'd get the chair": The Simpsons, season six.

Crooked Hillary Clinton in pantsuit.

Although the numbers did bounce around a little, polling by politico.com found that typically about half of Republican voters believe crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) should be locked up while fewer than 2% think she should “get the chair”, apparently on the basis of her being guilty of something although some might just find her “really annoying” and take the pragmatic view a death sentence would remove at least that problem from their life.  The term “electric chair” is most associated with the device used for executions but is also common slang to describe other machinery including electric wheelchairs and powered (heat, cooling or movement) seats or chairs of many types.  First used in the US during the 1890s, like the guillotine, the electric chair was designed as a more humane (ie faster) method of execution compared with the then common hanging where death could take minutes.  Now rarely used (and in some cases declared unconstitutional as a “cruel & unusual punishment”), in some US states, technically it remains available including as an option the condemned may choose in preference to lethal injection or the firing squad.  Interestingly, although during the successful 2016 campaign, Donald Trump (b 1946; US president 2017-2021 and since 2025) made much of "locking up" crooked Hillary were he to be elected, once in the White House, the usefulness of the "promise" was exhausted.  His supporters however expected a prosecution and journalists did whether he would order investigations into the conduct of Bill  (b 1946; US president 1993-2001) and crooked Hillary.  He replied with a perfunctory shake of the head and an almost mumbled "No, they're good people" and that was the end of that.  It was an interesting insight into many aspects of Mr Trump's character and political techniques.    

Electric Chair Suite (1971) screen print decalogy by Andy Warhol.

Based on a newspaper photograph (published in 1953) of the death chamber at Sing Sing Prison in New York, where US citizens Julius (1918-1953) & Ethel Rosenberg (1915-1953) were that year executed as spies, Andy Warhol (1928–1987) produced a number of versions of Electric Chair, part of the artist’s Death and Disaster series which, beginning in 1963, depicted imagery such as car crashes, suicides and urban unrest.  The series was among the many which exploited his technique of transferring a photograph in glue onto silk, a method which meant each varied in some slight way.  His interest was two-fold: (1) what is the effect on the audience of render the same image with variations and (2) if truly gruesome pictures repeatedly are displayed, is the effect one of reinforcement or desensitization?  His second question was later revisited as the gratuitous repetition of disturbing images became more common as the substantially unmediated internet achieved critical mass.  The first of the Electric Chair works was created in 1964.