Guelph & Ghibelline

Guelph (pronounced gwelf)

(1) In the politics of medieval Italian city states and in certain German states, a member of a political party or faction that supported the sovereignty of the papacy against the Holy Roman Emperor: politically opposed to the Ghibellines who supported the claims of the emperor.

(2) The beliefs of the Guelphs.

(2) A member of a secret society in early nineteenth century Italy that opposed foreign rulers and reactionary ideas.

(3) Any member of the German-Hanoverian Party (1867–1933), a conservative federalist political party in the German Empire (the so-called Second Reich 1871-1918) and the Weimar Republic (1918-1933) founded as a protest against the annexation in 1866 of the Kingdom of Hanover by the Kingdom of Prussia.

1570–1580: From the Italian Guelfo, from the Middle High German Welf (the family name of the founder of a princely German dynasty of Bavarian origin that became the ducal house of Brunswick (literally “whelp”, originally the name of the founder (Welf I).  The family are the ancestors of the present Windsor dynasty of Great Britain which until 17 July 1917 was the house of Saxe-Coburg and Gotha, the change effected by decree of George V (1865–1936; King of the United Kingdom & Emperor of India 1910-1936), responding to some understandable anti-German sentiment during the World War I (1914-1918).  One unintended consequence of the change was it elicited from Kaiser Wilhelm II (1859–1941; German Emperor & King of Prussia 1888-1918) the first of his two known jokes: Upon hearing of the change, he quipped he hoped soon to attend the next Berlin performance of William Shakespeare’s (1564–1616) The Merry Wives of Saxe-Coburg and Gotha (1602).  Historians cite the name as a war-cry used at the Battle of Weinsberg (1140) by forces loyal to Henry III (Henry the Lion, 1129-1195; Duke of Saxony (1142–1180) and of Bavaria (as Henry XII, 1156–1180) who at the time was aligned with Frederick Barbarossa (1122–1190; Frederick I, Holy Roman Emperor 1155-1190).  The alternative spelling was Guelf.  Guelph & Guelphism are nouns and Guelphic & Guelfic are adjectives; the noun plural is guelphs.  During the “great controversy”, partisans of the pope were in Italy known as Guelfi.

Ghibelline (pronounced gib-uh-lin or gib-uh-leen)

A member of the aristocratic party in medieval Italy and Germany that supported the claims of the Holy Roman Emperors against the claims by the papacy of temporal power: politically opposed to the Guelphs who supported the claims of the pope.

1565-1575: From the Italian Ghibellino, from the German Waiblingen, from the Middle High German Wibellingen, the name of a castle in Swabia held by the Hohenstaufen dynasty (the township of Waiblingen in modern Germany), from Old High German Weibilinga & Weibelingen which may have been a suffixed form of the personal names Wabilo & Wahilo.  Ghibelline & Ghibellinism are nouns, guelphic is an adjective; the noun plural is Ghibellines.

Frederick I, Holy Roman Emperor (circa 1843), oil on canvas by François-Édouard Picot (1786–1868).  Before Lindsay Lohan re-defined rangaism, Frederick Barbarossa was history's most famous redhead.

The Guelf and Ghibelline were members of two opposing factions in Italian and German politics during the Middle Ages, the Guelfs supporting the claims of the papacy to temporal power while the Ghibellines were aligned with the Holy Roman (German) Emperors.  A variant of one of the many types of “state vs church” conflicts which have played out over the last thousand-odd years, the disputes between the Guelfs and Ghibellines contributed to making the strife within northern Italian cities chronic in the thirteenth & fourteenth centuries.  It was the Hohenstaufen emperor Frederick Barbarossa who in the twelfth century resorted to armed force in an attempt to reassert imperial authority over northern Italy, his military ventures opposed not only by the Lombard and Tuscan communes which wished to preserve their autonomy within the empire, but also by the newly elected pope (Alexander III, circa 1104-1181; pope 1159-1181).  Thus was the peninsula split between those who sought to increase their power-bases and political influence and those (with the pope in the vanguard) determined to resist renewed imperial interference.

Othone vien licentiato dal Pontefice, e dal doge perche vada a trattar la pace con l'Imperator suo padre, (Pope Alexander III and Doge Ziani sending Otto to negotiate peace with his father Emperor Frederick Barbarossa), etching (circa 1720) after the painting executed by Palma il Giovane (Iacopo Negretti, circa 1549-1628) for the Sala del Maggior Consiglio in the Palazzo Ducale, Venice, British Museum, London.  The painting depicts Otto kneeling before the pope on his elevated throne; the Doge stands beside him; the crowd to the left and right.  The Doge was the chief magistrate in the republics of Venice and Genoa, the word from the Venetian Doxe, from the Latin ducem, accusative of dux (leader, prince).   It was a doublet of duke and dux and the source of Duce (leader) made infamous by Benito Mussolini (1883-1945; prime-minister of Italy 1922-1943).

Doge is now most often recognized (as Dogecoin) as a cryptocurrency which began as an “in-joke” but took on a life of its own and (as DOGE) the acronym for the US federal government’s Department of Government Efficiency, a cost-cutting apparatus with the stated aim (ultimately) of reducing the national debt.  DOGE was created by one of the earliest executive orders of Donald Trump’s (b 1946; US president 2017-2021 and since 2025) second term and although its status within (or parallel with) the bureaucracy is unclear, it appears still to exist.  Analysis of its effects have been published with estimates of the outcome thus far ranging from savings in excess of US$200 billion to additional costs over US$20 billion.  Those doing the math to come up with these numbers don’t use the same methods of calculation and do their work with different motivations and so sprawling is the US government it may be it will never be known quite what DOGE will eventually achieve.  The DOGE acronym was amusing but following the Australian general election of 1980, the Liberal-National Country (now the latter since 1982 called the National Party) coalition government set up a cabinet committee with a remit to reduce government expenditure and although it seems never to have received an official name, it was soon dubbed “the Razor Gang”, a re-purposing of a term from the 1920s which alluded to Sydney’s criminals switching from revolvers to switchblade knives after concealed handguns were outlawed.  “Razor Gang” does seem more evocative than “DOGE”.

The conflicts between cities pre-dated the use of Guelf and Ghibelline, the deployment of which became a sort of descriptive codification of the factions as the inter & intra-city antagonisms intensified.  Although many of the potted histories of the era lend the impression the conflict was binary as forces coalesced around the Guelfs and Ghibellines, each side existed with what political scientists call “cross-cutting cleavages”: social, family, class, economic and even occupational alliances all at play.  Still, the characteristic depiction of Guelfs representing wealthy merchants, traders and bankers and Ghibellines (representing feudal aristocrats and the Italian equivalent of the landed gentry) was not inaccurate and especially ferocious in Florence, where the Guelfs were twice exiled.  Although as a piece of history the long-running conflict is understood as a political (and even theological although that does take some intellectual gymnastics) squabble, the series of wars fought between the mid-thirteenth and early fourteenth century, although on a smaller scale than many, were as brutal and bloody as any in the Middle Ages and were essentially between Guelf-controlled Florence and its allies (Montepulciano, Bologna & Orvieto) and its Ghibelline opponents (Pisa, Siena, Pistoia, and Arezzo).

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

After the Hohenstaufen loss of southern Italy in 1266 and the extinction of their line two year later, the meanings of Guelf and Ghibelline morphed, Guelfism becoming a system of alliances among those who supported the Angevin presence in southern Italy (including the Angevin rulers of Sicily themselves, the popes, and Florence with its Tuscan allies) while within the many cities where the Guelfs had been victorious, the forces became a kind of blend of political party and pressure group acting on behalf of the conservative, property-owning class dedicated to maintaining the exile of the Ghibellines whose holdings had been confiscated.  Ghibellinism, although there were periodic attempts at revivals, became more an expression of nostalgia for empire although during the later part of the fourteenth century, the practical significance both declined: the popes for decades re-located to France and the emperors solved the problem of northern Italy by pretending it didn’t exist.  For another century the divisions between Guelfs and Ghibelline lived as names for local factions but the days of meeting on the battlefield were over.

A depiction of a fourteenth century street fight between militias of the Guelf and Ghibelline factions in the Italian commune of Bologna by an unknown artist, published in Le croniche di Luccha (The Chronicles of Lucca) by apothecary Giovanni Sercambi (1347–1424).  While there may have been some artistic licence in this work, it does show one aspect of the way fighting was done and as well as roving urban gangs, there were set-piece battlefield events with the use of infantry and cavalry as well as instances of what would now be called guerrilla tactics or terrorism.

However, Europe is a place of long memories (“ancient traditions” also invented as required) and the terms were in the nineteenth century revived during the emergence of the movement which in 1861 would secure the unification of Italy: the “Neo-Guelfs” urged the pope to lead a federation of Italian states while the “Neo-Ghibellines” viewed the pope as a medieval barrier to both modernization and the development of Italian unity.  By the mid-twentieth century popes no longer laid claim to temporal authority but, as the “vicar of Christ on Earth” his Holiness still, on behalf of God, asserted proprietorship over the souls of Catholics and this annoyed Benito Mussolini (1883-1945; Duce (leader) & Prime-Minister of Italy 1922-1943) whose view was Fascism was not to be seen as simply a political ideology but the primary dynamic of the Italian state and the guiding light of its people.  Authoritarian states are never comfortable if having to co-exist with what might be alternative sources of authority whether that be the Roman Catholic Church, the Falun Gong or the Freemasons (although they’re probably right to be worried about the latter) and Mussolini mentally divided the country in the fascist-supporting Ghibellines (good) and the priest-ridden Guelfs (bad).  Mussolini did think of himself as something of a Roman Emperor, if not one especially holy.  Count Galeazzo Ciano (1903–1944; Italian foreign minister 1936-1943 (and the son-in-law of Benito Mussolini who ordered his execution)) was one of the more readable diarists of the wartime years and a couple of his entries record the way the terms had lived on (and would survive into the atomic age):

2 January 1939: “A conversation with the Duce [Benito Mussolini] and Pignatti [Count Bonifacio Pignatti Morano di Custozza (1877-1957; Italian Ambassador to the Holy See 1935-1939)].  The Duce told the ambassador to tell the Vatican that he is dissatisfied with the policy of the Holy See, especially with reference to the Catholic Action Movement.  He spoke also of the opposition of the clergy to the policy of the Axis, as well as to racial legislation.  Let them not be under any illusion as to the possibility of keeping Italy under the tutelage of the Church.  The power of the clergy is imposing, but more imposing is the power of the state, especially a Fascist state.  We do not want a conflict, but we are ready to support the policy of the state, and in such a case we shall arouse all the dormant anti-clerical rancor; let the Pope remember that Italy is Ghibelline.  Pignatti acted in a satisfactory manner.  He said that the Vatican has made many mistakes, but that the Pope is a man of good faith, and that he is the one who, more than any other prelate, thinks in terms of Italianism.  I have given him instructions to act tactfully. Notwithstanding Starace [confessed Freemason Achille Starace (1889–1945; Secretary of the National Fascist Party 1931-1939 who (along with Mussolini, his mistress and four other fascists) was on 29 April 1945 executed by partisans and hung by his ankles above a gas (petrol) station forecourt in Piazzale Loreto, Milan)], I should like to avoid a clash with the Vatican, which I should consider very harmful.”

Mussolini, his mistress and Starace among the seven hung from the rafters of an Esso gas station’s forecourt, Piazzale Loreto, Milan, 29 April 1945.

On the site there now sits a bank building, the ground floor of which is occupied by a McDonalds “family restaurant”.  Once an autopsy had been performed (clinically, one of the less necessary in medical history), Mussolini’s corpse was buried in a “secret” unmarked grave, but this was Italy so fascists soon discovered the location and exhumed the body, spiriting it away.  That caused a scandal and when eventually the government tracked down the remains, such was the wish to avoid upsetting either the (anti-fascist) Guelphs or (pro-fascist) Ghibellines, an accommodating abbot was found who agreed to find a quiet corner in his monastery.  For over a decade, there it sat until in the late 1950s it was returned to Mussolini’s widow, the need at the time being to appease the Ghibellines (ie the Italian right wing).  The Duce's remains reside now in a crypt at Mussolini’s birthplace which has become a pilgrimage spot for neo-fascists from many countries and in Italy, it’s possible to buy items such as Mussolini postcards and coffee mugs.  Of course the Vatican's gift shops have much papal merchandise for sale and despite the dramatic set-piece at the Esso gas station, what happened in 1945 really wasn't a victory of the Guelphs over the Ghibellines; since then the two sides have managed (mostly) peacefully to co-exist.

June 3, 1942: “Optimism prevails at the Palazzo Venezia on the progress of operations in Libya. The Duce talks today about the imminent siege of Tobruk and about the possibility of carrying the action as far as Marsa Matruk.  If these are roses… they will bloom.  The Duce was very hostile to the Vatican because of an article appearing in the Osservatore Romano [the daily newspaper of Vatican City (owned by the Holy See but not an official publication)] over the signature of Falchetto [“Falchetto” (little falcon) was the ambassador’s pseudonym, used when publishing quasi-official or interpretative commentary on relations between the Holy See and the Italian state, diplomatic developments or political issues of mutual concern, without these writings being treated as formal government statements.  What this meant was the statements could be read as reflecting viewpoint of the Italian embassy to the Holy See (and, by extension, of the Italian government itself) yet still providing the essential layer of “plausible deniability”].  The article spoke about Greek philosophy, but the real purpose was evident.  Guariglia [career diplomat Raffaele Guariglia, Baron di Vituso (1889–1970)] will take the matter up with the Secretariat of State of the Vatican. ‘I hate priests in their cassocks,’ said Mussolini, ‘but I hate even more and loathe those without cassocks [Italians who follow the Vatican line], who are vile Guelfs, a breed to be wiped out.’”  The Duce did though remain a realist and whatever might have been his private fantasies, never suggested, as Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) did during one of the many dark moments of his table talk: “sending a squad into the Vatican and clearing out that whole rotten crew.”  Tacitly, both Duce and Führer knew that to exert his influence, the pope didn’t need any divisions at his command.

Loop

Loop (pronounced loop)

(1) A portion of a cord, ribbon, etc., folded or doubled upon itself so as to leave an opening between the parts; the opening so formed.

(2) Anything shaped more or less like a closed curve, as a line drawn on paper, a part of a letter or other symbol, a part of a path, or a line of motion.

(3) A curved piece or a ring of metal, wood, or the like, used for the insertion of something, as a handle, etc.

(4) In clinical slang, an intrauterine device (IUD), so named for the “loop” shape.

(5) In aeronautics, a maneuver executed by an airplane in such a manner that the airplane describes a closed curve in a vertical plane.

(6) In urban mass-transportation, a circular area at the end of a trolley line, railroad line etc, where cars turn around; (transport); a public transport (bus, rail, tram etc) route that starts and ends at the same point.

(7) In highway design, an arm of a cloverleaf where traffic may turn off or onto a main road or highway.

(8) In road design, a ring road or beltway.

(9) In physics, the part of a vibrating string, column of air or other medium, etc, between two adjacent nodes.

(10) In electricity, a closed electric or magnetic circuit.

(11) In computing, the reiteration of a set of instructions in a routine or program (which can be intentional or an error); a sequence of instructions repeated until or while a particular condition is satisfied.

(12) In biological science, a wire, usually of platinum, one end of which is curved to form a loop, used for transferring microorganisms from one medium to another.

(13) In biochemistry, a flexible region in a protein's secondary structure.

(14) A sandbar enclosing (or nearly enclosing) a body of water.

(15) In figure skating, a school figure in which a skater traces a large half circle, a small oval within its arc, and another large half circle to complete the figure while remaining on the same skating edge.

(16) As “The Loop”, the main business centre in the CBD of Chicago, Illinois.

(17) A small or narrow opening in a wall; a loophole (archaic).

(18) In metalworking, a hot bloom of pasty consistency, to be worked under a hammer or in rolls (the old alternative spelling was loup (mass of iron)).

(19) In graph theory, an edge that begins and ends on the same vertex.

(20) In topology, a path that starts and ends at the same point.

(21) In algebra, a quasi-group with an identity element.

(22) In North American use, a sports league (now rare).

(23) In dactylography (the study of fingerprints), one of the three primary shapes assumed by the ridges (arches, loops, and whorls).  (Dermatoglyphics is the broader scientific study of the patterns of ridges on the fingers, palms, toes, and soles).

(24) To form into a loop.

(25) To make a loop in.

(26) To enfold or encircle in or with something arranged in a loop.

(27) To fasten by forming into a loop, or by means of something formed into a loop (often followed by up).

(28) In ballistics, to cause a missile or projectile to trace a looping or loop-like trajectory while in flight.

(29) To fly an airplane in a loop or series of loops.

(30) In electronics, to connect conductors in the shape of a loop within a closed electric or magnetic circuit.

(31) In film, television etc production, to complete by recording dialogue, sound effects, etc onto an existing film track or soundtrack; an endless strip of tape or film allowing continuous repetition.

(32) In zoology, to move by forming loops (certain worms, caterpillars etc).

1350–1400: From the Middle English loupe & loup (loop of cloth; loophole; noose), from the earlier lowp-knot (loop-knot), of North Germanic origin, from the Old Norse hlaup (a run), used in the sense of “a running knot”, from hlaupa (to leap), ultimately from the Proto-Germanic hlaupaną (to leap, run) (and related to the Swedish löp-knut (loop-knot), the Danish løb-knude (a running knot) and the Danish løb (a course)..Etymologists are divided over whether loop has any connection with the Middle Irish & Old Irish lúb (bend, fold, loop) and perhaps akin to “leap”; nor is it clear if there was any relationship with the Middle Dutch lūpen (lie in wait, peep, peer).  The special use in metalworking dates from 1665-1675 and was etymologically unrelated; it was from the French loupe, a special use of loupe (wen, knob, gnarl), ultimately from a Germanic source.  The verb was derived from the noun.  Loop & looping are nouns & verbs, looper is a noun, looped is a verb & adjective and loopable & loopy are adjectives; the noun plural is loops.

Inner hippie: Lindsay Lohan likes the peace sign and made it her signature gesture but in an age when high definition photography makes possible, even at a distance, the precise capturing of the arches, loops, and whorls of fingerprints, it’s now a potential risk.  AI (artificial intelligence) engines are now reported as achieving a success rate in excess of 50% in generating fake fingerprints so accurately they can “fool” biometric scanners.

As an acronym, LOOP can mean (1) loss of offsite power, (2) Listed on Other Page (online marketplaces), (3) Law of One Price (finance; economic theory) and Long-Range Open Ocean Patrol (admiralty jargon).  In dactylography (the study of fingerprints), the three primary shapes assumed by the ridges (arches, loops, and whorls) were first formerly defined in 1880.  It was first used of magnetic recording tape or film in 1931 while in computer programming in the sense of “a sequence of instructions, executed repeatedly”, the first known reference dates from 1947.  The noun looper (plural loopers) can mean (1) someone who loops (in various contexts, (2) an instrument or tool, such as a bodkin, for forming a loop in yarn or cord etc, (3) A moth having a caterpillar which arches its body into a loop in order to bring the back part of the body forward as it walks due to having fewer prolegs (an appendage of the abdomen of some insect larvae), (4) a (no almost always electronic) tool for creating music loops, (5) a golf caddy and (6) in baseball, a synonym of blooper (a fly ball that is weakly hit just over the infielders).  The adjective loopy can describe (1) something in such a shape or (2) (in slang) someone thought crazy or deranged.  The latter meaning dates from as late as 1923 but a century earlier it had entered English in the sense of “crafty or deceitful) in the novels of Sir Walter Scott (1771–1832).

Lindsay Lohan in Loop magazine.

There are literally dozens of derived “loop” phrases and idiomatic forms, some of the better known being: “infinite loop” (also as endless loop) (in computer programming a series of instructions which repeats until interrupted), “feedback loop” (a self-reinforcing or self-weakening effect which was used in the language of the military, political science, psychology, physics and other fields before becoming popular in discussions of global warming, “close the loop” (in managerial jargon, to follow up; to tie up loose ends; to resolve), “in the loop” (being well-informed; up to date; having current knowledge; being part of the discussion; the companion antonym being “out of the loop”, “fruitloop” (someone thought crazy or deranged (Fruit Loops originally a brand of sugary breakfast cereal), “death loop” (in video gaming the situation in which a player is killed and then respawns in the exact same time and place, destined thus endlessly to be killed, usually in a gruesome way, “belt loop” (the fittings on trousers & skirts through which one’s belt passes), “Lebanese loop” (in slang the “skimming device” fitted to an automatic teller machine (ATM or “cash dispenser”) used by criminals to collect personal information (such as pin numbers), “loophole” (in figurative use an ambiguity or exception in a rule or law that can be exploited in order to avoid the usual consequences (and originally "a slit in a castle wall used for observation or mounting a weapon)) and “loop quantum gravity” (a mysterious theory which attempts to reconcile quantum mechanics and general relativity, according to which space can be regarded as an extremely fine fabric of finite loops).

In the loop: MECCA MAXIMA, Bondi Junction, Sydney, Australia.

MECCA Cosmetica is an Australian cosmetics house with a presence in Australia, New Zealand, the UK and the PRC (People’s Republic of China), its private label brands including Mecca Cosmetica, Mecca Max, Kit and Mecca-ssentials.  It runs a programme (a kind of hybrid of a loyalty & reward scheme) called “Beauty Loop”, organized into layers, the parameters of which are based on one’s annual spend; as one spends more, one ascends to a higher level and, the higher one’s level, the greater the rewards (ie an effective discount).  The MECCA Beauty Loop has four levels of recognition (1, 2, 3 & 4) and purchases made online or in-store contribute to one’s annual total.  MECCA labels the customer profile in the Beauty Loop layers progressively as (1) Beauty Discoverer, (2) Beauty Devotee (3) Beauty Aficionado and (4) Beauty Connoisseur, explaining the Beauty Loop mechanics thus:

Beauty Loop Level 1: Aus$300.00–Aus$599.99 spend per year: As a Beauty Discoverer, every day is a beauty adventure: exploring new products, new brands, new categories and experiencing them for the very first time.  Come with us on this beauty journey where we will share with you our love of beauty with four rewards each year, including Beauty Loop Boxes (a curation of special samples) and Beauty Loop Bonuses (extra beauty products we just need to share!).  Plus, a gift to celebrate your birthday, when you spend $300 AUD per year (12 months).

Beauty Loop Level 2: Aus$600.00–Aus$1,199.99 spend per year: As a Beauty Devotee, you are immersed in the world’s best in beauty. And just like us, you love to hear about the latest beauty trends, breakthroughs and products.  As a Level 2 member you will receive seven rewards each year, including Beauty Loop Boxes (a curation of special samples) and Beauty Loop Bonuses (extra beauty products we just need to share!).  Plus, a gift to celebrate your birthday, when you spend $600 AUD per year (12 months).

Beauty Loop Level 3: Aus$1,200.00–Aus$3,499.99 spend per year: As a Beauty Aficionado, you live and breathe all things beauty: you know all about the tried-and-trusted classics but also love to explore what’s fresh and new. We’ll bring you more of the world you love with eight rewards each year, including Beauty Loop Boxes (a curation of special samples) and Beauty Loop Bonuses (extra beauty products we just need to share). Plus, one complimentary makeup application, a gift to celebrate your birthday, pre-launch access to new and limited-edition products and events by invitation – and more! All this when you spend $1200 AUD per year (12 months).

Beauty Loop Level 4: Aus$3,500.000+ spend per year: As a Beauty Connoisseur, your passion for beauty is unmatched. You would go to the ends of the earth for beauty’s most coveted (as would we!). As our most beauty-obsessed members, you can expect our most exciting, luxurious rewards. You will receive nine rewards each year, including Beauty Loop Boxes (a curation of special samples) and Beauty Loop Bonuses (extra beauty products we just need to share). Plus, one complimentary makeup application, pre-launch access to new and limited-edition products, access to exclusive invitation-only events, and of course, a birthday gift from us to you with love. All this and more when you spend $3,500 AUD per year (12 months).

Although the Murdoch press in April 2025 published a long critique of the scheme (their "inside information" obtained on this occasion without having to resort to phone hacking), Beauty Loop remains popular, said now to enjoy a membership in excess of 4½ million Beauty Discoverers, Devotees, Aficionados & Connoisseurs (MECCA doesn’t publish a breakdown) but in 2023 there emerged on-line speculation there may be an exclusive, secret layer of the loop (presumably known as Level 5) for those who spend much more.  It all sounded quite Masonic and there was speculation at least some MECCA staff must know about the mysterious Level 5 but were not permitted to discuss it and, if asked, were instructed to deny the existence of such a thing.  What Level 5 Beauty Loop members would be called attracted speculation and the most popular suggestions were “Beauty Addict”, “Beauty Obsessive” & “Beauty Cultist”, the consensus being floor staff would be able to confirm the identity of Level 5 members by some unobvious and ambiguous flag in the MECCA database rather than something Masonic like a secret handshake.

Fueling the conspiratorial atmospherics, MECCA adopted the Pentagon's "neither confirm nor deny" policy (invoked usually when questioned about the existence of nuclear weapons in certain places) so the hunt for a MECCA "deep throat" began and in mid 2024 it was revealed one had been found (apparently called “Jillie” according to the Alex Hourigan and Sally McMullen, hosts of the podcast Two Broke Chicks)  What “Jillie” disclosed was the mystical “Level 5” really existed and it was an “exclusive, invitation-only” stratum atop the loop and it was called the “Magic Circle”.  While the exact metrics have never been confirmed by a reliable source, the implication was Magic Circle members received tailored gifts, exclusive access to events, and a deeper level of personalization from MECCA.  Quite how high one’s annual Mecca-spend need to be to enter (and presumably retain) one’s place in the Magic Circle isn’t known but the consensus among the MECCA congregation is it will be in excess of Aus$10,000.  The secret out, a MECCA representative did respond to media requests and issued a statement: “Through Magic Circle we provide personalised service and access to exclusive events and opportunities to a select group of our most passionate and loyal Level 4 customers.  Our Magic Circle customers are those who regularly shop with Mecca, engage with our team and are active members of our beauty-loving community.”  Now we know.

KGB identity card, issued in 1982 for British SIS defector Kim Philby (1912–1988).

In his sometimes reliable memoirs, the English Soviet spy Kim Philby (1912–1988 and one of the “Cambridge Five”) wrote “One does not look twice at an offer of enrolment in an elite force”, a comment which reveals a state of mind probably still prevalent among a certain class in the UK: that somewhere, close but not quite within reach, there exists an exclusive group in which resides the “real” power and influence.  Paradoxically, it was among those conventionally though part of “the establishment” that the longing to be part of this “inner ring” was strongest.  The English writer, literary scholar and Anglican lay theologian C. S. Lewis (1898–1963) in an essay published in 1944 noted the phenomenon and claimed: “Of all the passions, the passion for the inner ring is most skilful in making a man who is not yet a bad man do very bad things.”  Philby of course came to do very bad things  Whether MECCA cultists would, in their quest to be part of the Magic Circle, be prepared to resort to what the KGB’s double agents did can’t be predicted but Kim Philby certainly would have understood their obsession.

Curiously (and presumably coincidentally), the term “magic circle” was used of the mechanism by which a leader of the UK’s Conservative and Unionist (Tory) Party “emerged”, the system still in place as recently as 1963.  Tory Party leaders have been elected by a formal vote only since 1965 and even then, until 2001, it was only MPs who voted.  Prior to that, a leader was said to “emerge” from what was known as a “magic circle” and although never as mysterious as some suggested, it was an opaque process, conducted by party grandees.  The classic example was in 1957 when the choice was between Harold MacMillan (1894-1986; UK prime-minister 1957-1963) and Rab Butler (1902-1982).  To his office in the House of Lords, the lisping (fifth) Lord Salisbury (1983-1972) summoned those he thought good chaps (women at this point hadn’t yet become chaps) and asked “Hawold or Wab?”  Hawold prevailed.

The change in process in 1965 came about at the insistence of Sir Alec Douglas-Home (1903-1995 and the fourteenth Earl of Home before in 1963 disclaiming his peerage to become prime-minister (1963-1964)).  Since 1957, the country had changed and there was much criticism of the murky manner by which Sir Alec had become party leader with a clamour, even within the party, both to modernize and appear more transparently democratic.  From this point, unleashed were the forces which would in 1975 see Margaret Thatcher (1925-2013; UK prime-minister 1979-1990) elected leader but the first beneficiary of the wind of change was Edward "Ted" Heath (1916-2005; UK prime-minister 1970-1974), a grammar school boy who replaced the quondam fourteenth earl.  Notably, to appear more modern, Heath in 1965 didn't repair (as he had with MacMillan when he emerged in 1957), to the Turf Club for a celebratory meal of oysters, game pie and champagne which “…might have made people think a reactionary regime had been installed”.  

A beltless Lindsay Lohan’s daring display of naked belt loops; note the fetching hooking of the thumbs (right).  A belt will usually include a loop next to the buckle, used to keep the end of the belt in place.  This is called the "keeper".

It can be hard now to understand quite what a change Heath's accession in 1965 flagged; the Tory Party previously had leaders from the middle class but never the lower middle class.  The significance of what emerged in 1965 was less the new leader than a changed Tory Party in a changed country.  Whether a more democratic process than the magic circle means much of a change in the character of the figure chosen seems doubtful because whatever happens, the extent of the variation probably is still something like that once described by Georges Clemenceau (1841–1929; Prime Minister of France 1906-1909 & 1917-1920) as the difference between: "a politician who would murder their own mother and one prepared to murder only someone else's mother".  Nor has the change in process likely to have discouraged those anxious to make it to the top of the “greasy pole”.  When the office beckoned Lord Melbourne (1779-1848; UK prime-minister 1834 & 1835-1841), he was disinclined to accept, fearing it would be “…a damned bore” but his secretary persuaded him, saying “…no Greek or Roman ever held the office and if it lasts but three months it’ll still be worthwhile to have been Prime Minister of England”.  That thought remains to console Liz Truss (b 1975; UK prime-minister Sep-Oct 2022) who, despite it all, can still remember and be glad.

Paparazzo

Paparazzo (pronounced pah-puh-raht-soh or pah-pah-raht-tsaw (Italian))

A freelance photographer, especially one who takes candid pictures of celebrities to sell to publishers; noted for their symbiotic invasion of the privacy of the subjects.

1961: A borrowing of the Italian surname Paparazzo, a character (the freelance photographer) in Federico Fellini's (1920–1993) 1960 film La Dolce Vita.  The more familiar noun plural (which can be used for all purposes regardless of context) is paparazzi, pronounced pah-puh-raht-see or pah-pah-raht-tsee.

The surname carries no meaning within the film; there’s no historic or etymological relationship either to the plot or photography.  The name is not uncommon in the region of Calabria and Fellini is said to have borrowed it from a travel book, By the Ionian Sea (1901) by George Gissing (1857–1903) which the director was reading (in Italian translation) during filming in 1959; in the book is mentioned a hotelier, Signor Coriolano Paparazzo.  The photographer in the film is played by Walter Santesso (1931-2008).  Paparazzo, which technically is the singular form only, is hardly ever used to refer to an individual photographer, the plural paparazzi instead the preferred form which is so pervasive that a female photographer, who should be a (morphologically standard in Italian) paparazza, is also a paparazzi.  Some dictionaries even list an alternative spelling for the plural as paparazzos but there seems no evidence of use and it may exist only because the rules of English say it can.  Paparazzo is a noun and because of the patterns of use, while paparazzi has probably become assimilated and is thus now part of the English language, the less-commonly used paparazzo probably remains "foreign". 

The quality of symbiosis is sometimes strained: Lindsay Lohan and the paparazzi.  For everything you do, there’s a price to be paid.

All forms must now be thought full-assimilated English words and the exclusive use of paparazzi has become correct English.  Because of the circumstances under which paparazzo, paparazzi & paparazza entered English, as a re-purposing of a proper noun, the “rules” under which they operate are those defined by the pattern of use.  The users spoke and it’s now paparazzi all the way.  Paparazzi is thus both noun-singular and noun-plural, masculine & plural.  Historically, there will be those who insist it has become a plurale tantum (from the Latin pluralia tantum (plural only)), a noun that appears only in the plural form and does not have a singular variant for referring to the individual object.  Some dictionaries do allow it can refer also to nouns the singular form of which is rare or archaic.  All bases seem covered.  One shouldn’t too deeply dwell on plural forms from other languages which in English have taken on a life of their own, despite remaining obviously “foreign”.  Spaghetti is an Italian plural which translates literally as “little straps” but in English it’d sound absurd to say “the spaghetti are delicious”. 

The paparazzi focus on Socks, circa 1992.

Lindsay Lohan of course understood the potentially transactional relationship between paparazzi and subject and could exploit as well as being exploited but did admit one of the attractions of life in Dubai is there the parasitic profession is banned.  Not all however can move and for eight years Socks was resident in Washington DC where, although becoming accustomed to being photographed, he seemed never to perfect any signature poses.  Socks (1989-2009) was FCOTUS (First Cat of the United States 1993-2001)) and belonged to Chelsea Clinton (b 1980; FDOTUS (First Daughter of the United States 1993-2001)).

The "freelance" status may be misleading in that there have been paparazzi known to to work exclusively for one buyer (who was more likely an agent than an editor or publisher) although for this reason and that they certainly weren't formally on the payroll.  In most cases though the paparazzi can be thought of as proto-gig economy workers in that from an industrial relations viewpoint they were independent contractors even if in some cases their entire income might come from the one entity (indeed, some had signed contracts of exclusivity guaranteeing at least a right of first refusal with a scale of payment on some negotiated basis).

The symbiosis of stars and the paparazzi

Anita Ekberg (1931–2015) in Federico Fellini's (1920–1993) La Dolce Vita (translated variously as "the sweet life" or "the good life", 1960, left) and soon after, on location (as it were) in London's Berkley Hotel (right).  The famous scene in La Dolce Vita was shot while she splashed in the waters of Rome's Trevi Fountain.

Ms Ekberg understood the often symbiotic relationship between paparazzi and their subjects, sometimes willing sometimes not.  Long after the event, cheerfully she would admit the famous incident in the lobby of London’s Berkley Hotel when her dress “burst” open, was a publicity stunt pre-arranged with a freelance photographer.  Although doubtlessly well-rehearsed, as might be expected from a trained actor it was one of history's more accomplished "planned wardrobe malfunctions".  Frequently, interpretations of Ms Ekberg's technique is seen on social media platforms (real people don't call them "the socials") but not all the young ladies who have followed in her wake so well disguise the artifice.

Vogue

Vogue (pronounced vohg)

(1) Something in fashion at a particular time or in a particular place.

(2) An expression of popular currency, acceptance, or favor.

(3) A highly stylized modern dance that evolved out of the Harlem ballroom scene in the 1960s, the name influenced by the fashion magazine; one who practiced the dance was a voguer who was voguing.

(4) In Polari, a cigarette or to light a cigarette (often in the expression “vogue me up”).

(5) The world's best known women's fashion magazine, the first issue in 1892 and now published by Condé Nast.

1565–1575: From the Middle English vogue (height of popularity or accepted fashion), from the Middle French vogue (fashion, success (literally, “wave or course of success”)), from the Old French vogue (a rowing), from voguer (to row, sway, set sail), from the Old Saxon wegan (to move) & wogōn (to sway, rock), a variant of wagōn (to float, fluctuate), from the Proto-Germanic wagōną (to sway, fluctuate) and the Proto-Germanic wēgaz (water in motion), wagōną (to sway, fluctuate), wēgaz (water in motion) & weganą (to move, carry, weigh), from the primitive Indo-European weǵh- (to move, go, transport (and an influence on the English way).  The forms were akin to the Old Saxon wegan (to move), the Old High German wegan (to move), the Old English wegan (to move, carry, weigh), the Old Norse vaga (to sway, fluctuate), the Old English wagian (to sway, totter), the Proto-West Germanic wagōn, the German Woge (wave) and the Swedish våg.  A parallel development the Germanic forms was the Spanish boga (rowing) and the Old Italian voga (a rowing), from vogare (to row, sail), of unknown origin and the Italianate forms were probably some influence on the development of the verb.  Vogue, voguie & voguer are nouns (voguette an informal noun), voguing is a noun and adjective, vogued is a verb and vogueing & voguish are adjectives; the noun plural is vogues.  The noun voguie is a special use and is a synonym of fashionista ((1) one who creates or promotes high fashion (designers, editors, models, influencers etc) or (2) one who dresses according to the trends of fashion, or one who closely follows those trends).

All etymologists seem to concur the modern meaning is from the notion of being "borne along on the waves of fashion" and colloquially the generalized sense of "fashion, reputation" is probably from the same Germanic source.  The phrase “in vogue” (having a prominent place in popular fashion) was recorded as long ago as 1643.  The fashion magazine (now owned by Condé Nast) began publication in 1892 and young devotees of its advice (they are legion) are voguettes.  In linguistics, vogue words are those words & phrases which become suddenly (although not always neologisms) popular and fade from use or becoming clichéd or hackneyed forms (wardrobe malfunction; awesome; problematic; at this point in time; acid test; in this space; parameters; paradigm etc).  Because it’s so nuanced, vogue has no universal synonym but words which tend to the same meaning (and can in some circumstances be synonymous) include latest, mod, now, rage, chic, craze, currency, custom, fad, favor, mode, popularity, practice, prevalence, style, stylishness, thing, trend & usage.

Lindsay Lohan cover, Vogue (Spanish edition), August 2009.

In Regional English, "vogue" could mean "fog or mist" and in Cornwall, the hamlet of Vogue in the parish of St Day gained its name from the Medieval Cornish vogue (a word for a medieval smelting furnace (ie "blowing house", the places generating much smoke)); civilization contributing to the increase in atmospheric concentrations of greenhouse gasses is nothing new.  Clearly better acquainted with trademark law than geography, in early 2022 counsel for Condé Nast sent a C&D (cease and desist letter) to the inn-keeper of the village’s The Star Inn at Vogue pub, demanding the place change its name to avoid any public perception of a connection between the two businesses.  The owners of the venerable pub declined the request (cheekily suggesting they might send their own C&D to Vogue demanding the publication find a new name on the basis of usurpation (an old tort heard before the Court of Chivalry).  Condé Nast subsequently apologized, citing insufficient investigation by their staff, a framed copy of their letter hung on the pub's wall.  Honor apparently satisfied on both sides, the two Vogues resumed the peaceful co-existence which had prevailed since 1892. 

1981 Range Rover In Vogue from the first run with the standard stylized steel wheels (left) and a later 1981 In Vogue with the three-spoke aluminum units.

Much of the 1970s was spent in what to many felt like a recession, even if there were only some periods in some places during which the technical definition was fulfilled and the novel phenomenon of stagflation did disguise some of the effects.  Less affected than most (of course) were the rich who had discovered a new status-symbol, the Range Rover which, introduced in 1970 had legitimized (though there were earlier ventures) the idea of the "luxury" four-wheel-drive (4WD) segment although the interior of the original was very basic (the floor-coverings rubber mats rather than carpets on the assumption that, as with the even more utilitarian Land Rovers, there would be a need to "hose out" the mud accumulated from a day's HSF (huntin', shootin' & fishin')), the car’s reputation built more on it's then unique blend of competence on, and off-road.  So good was the Range Rover in both roles that owners, used to being cosseted in leather and walnut, wanted something closer to that to which they were accustomed and dealers received enquiries about an up-market version.

Lindsay Lohan at the opening of the Ninety years of Vogue covers exhibition, Crillon Hotel, Paris, 2009.

That had been Rover’s original intention.  The plan had been to release a basic version powered by four cylinder engines and a luxury edition with a V8 but by 1970 time and development funds had run out so the car was released with the V8 power-train and the more spartan interior although it was quickly apparent few owners took advantage of being able to hose out the mud.  Indeed, so skewed was the buyer profile to urban profiles it's likely the only time many ventured off the pavement was to find a good spot in the car parks of polo fields.  In something which must now seem remarkable, although already perceived as a "prestige" vehicle, for the first decade-odd, the Range Rover was not available with either air-conditioning or an automatic transmission.  However, if the rich were riding out the decade well, British Leyland (which owned Rover) was not and it lacked the capital to devote to the project.  Others took advantage of what proved a profitable niche and those with the money (or spending OPM (other people's money) could choose from a variety of limited-production and bespoke offerings including LWB (long-wheelbase) models, four-door conversions, six wheelers and even open-topped versions from a variety of coach-builders such as Wood & Pickett and low-volume manufacturers like Switzerland’s Monteverdi which anticipated the factory by a number of years with their four-door coachwork.

Rendez-vous à Biarritz, Vogue magazine, March 1981.  The eight page advertising supplement was for Lancôme and Jaeger fashion collections, the Wood & Pickett-trimmed Range Rover a "backdrop" which would prove a serendipitous piece of product placement. 

British Leyland was soon subject to one of the many re-organizations which would seek (without success) to make it a healthy corporation and one consequence was increased autonomy for the division making Range Rovers.  No longer compelled to subsidize less profitable arms of the business, attention was turned to the matter of a luxury model, demand for which clearly existed.  To test market reaction, in late 1980, the factory collaborated with Wood & Pickett to design a specially-equipped two-door model as a proof-of-concept exercise to gauge market reaction.  The prototype (HAC 414W) was lent to Vogue magazine, a crafty choice given the demographic profile of the readership and the by then well-known extent of women’s own purchasing power and influence on that of their husbands.  Vogue took the prototype to Biarritz to be the photographic backdrop for the images taken for the magazine’s co-promotion of the 1981 Lancôme and Jaeger fashion collections, published in an eight-page advertising spread entitled Rendez-vous à Biarritz in the March 1981 edition.  The response was remarkable and while Lancôme and Jaeger’s launch attracted polite attention, Vogue’s mailbox (which then received letters in envelopes with postage stamps) was overwhelmingly filled with enquiries about the blinged-up Range-Rover (although "bling" was a linguistic generation away from use).

Vogue's Range Rover In Vogue (HAC 414W) in Biarritz, 1981, all nuts on board or otherwise attached.  The model name was a play on words, Range Rovers very much "in vogue" and this particular version substantially the one "in Vogue".

Rover had expected demand to be strong and the reaction to the Vogue spread justified their decision to prepare for a production run even before publication and the Range Rover In Vogue went on sale early in 1981, the limited-edition run all closely replicating the photo-shoot car except for the special aluminum wheels which were not yet in volume production.  Amusingly, the triple-spoke wheels (similar to the design Ford had used on the 1979 (Fox) Mustang) had been a problem in Biarritz, the factory supplying the wrong lug nuts which had a tendency to fall off, meaning the staff travelling with the car had to check prior to each shoot to ensure five were present on each wheel which would appear in the picture.  Not until later in the year would the wheels be ready so the In Vogue’s went to market with the standard stylized steel units, meaning the brochures had to be pulped and reprinted with new photographs and some small print: "Alloy wheels, as featured on the vehicle used by Vogue magazine will be available at extra cost through Unipart dealers later in 1981".  British Leyland's record-keeping was at the time as chaotic as much of its administration so it remains unclear how many were built.  The factory said the run would be 1,000, all in right hand drive (RHD) but many left hand drive (LHD) examples exist and it’s thought demand from the continent was such another small batch was built although this has never been confirmed.  The In Vogue’s exclusive features were:

Light blue metallic paint (the model-exclusive Vogue Blue) with wide body stripes in two shades of grey (not black as on the prototype).
High compression (9.35:1) version of the V8 (to provide more torque).
Higher high-gear ratio (0.996:1) in the transfer box (to reduce engine speed and thus noise in highway driving).
Air conditioning
Varnished walnut door cappings.
Armrest between the front seats.
Map pockets on the back of the front seats (the rationale for not including the folding picnic tables so beloved by English coach-builders being the design of the Range Rover's rear tailgate had made it the "de-facto picnic table".
Fully carpeted luggage compartment.
Carpeted spare wheel cover and tool-kit curtain.
Picnic hamper.
Stainless steel tailgate cap.
Black wheel hub caps.

The "fitted picnic hamper".

Condé Nast would later describe the In Vogue’s custom picnic hamper as the car’s "pièce de résistance". which might have amused Rover's engineers who would have put some effort into stuff they'd have thought "substantive".  Now usually written in English as "piece de resistance" (masterpiece; the most memorable accomplishment of one’s career or lifetime; one's magnum opus (great work)), the French phrase pièce de résistance (literally the "piece which has staying power") seems first to have appeared in English in Richard Cumberland (1732–1811) novel Arundel (1789).  One can see the writer's point.  Although the walnut, additional torque and certainly the air conditioning would have been selling points, like nothing else, the picnic hamper would have delighted the target market.

Demand for the In Vogue far exceeded supply and additional production runs quickly were scheduled.  In response to customer demand, the most frequently made request was acceded to, the second series available with Chrysler's robust TorqueFlite automatic transmission, introduced at the same time as the debut of a four-door version, another popular enquiry while the three-spoke wheels became standard equipment and equipment levels continued to rise, rear-head restraints fitted along with a much enhanced sound-system.  In what was perhaps a nod to the wisdom of the magazine's editors, although a cooler replaced the hamper for the second run, for the third, buyers received both cooler and hamper.  The third series, launched in conjunction with the Daks autumn fashion collection at Simpson's of Piccadilly, included a digital radio, the convenience of central locking and the almost unnoticed addition of front mud flaps so clearly there was an understanding that despite the Range Rover's well deserved reputation as a "Chelsea taxi", the things did sometimes see the mud and ladies didn't like the stuff getting on their dresses as they alighted.  In 1984, as "Vogue", it became the regular production top-of-the-range model and for many years served in this role although, for licencing reasons, when sole in the US it was called the "Country").  For both companies, the In Vogue and subsequent Vogues turned out to be the perfect symbiosis.

Art and Engineering

Vogue, January 1925, cover art by Georges Lepape.

From the start, Vogue (the magazine) was of course about frocks, shoes and such but its influence extended over the years to fields as diverse as interior decorating and industrial design.  The work of Georges Lepape (1887-1971) has long been strangely neglected in the history of art deco but he was a fine practitioner whose reputation probably suffered because his compositions habitually were regarded as derivative or imitative which seems unfair given there are many who are more highly regarded despite being hardly original.  His cover art for Vogue’s edition of 1 January 1925 juxtaposed one of French artist Sonia Delaunay’s (1885–1979) "simultaneous" pattern dresses and a Voisin roadster decorated with an art deco motif.

1927 Voisin C14 Lumineuse.

One collector in 2015 was so taken with Pepape’s image that when refurbishing his 1927 Voisin C14 Lumineuse (literally “light”, an allusion to the Voisin’s greenhouse-inspired design which allowed natural light to fill the interior), he commissioned Dutch artist Bernadette Ramaekers to hand-paint a geometric triangular pattern in sympathy with that on the Vogue cover in 1925.  Ms Ramaekers took six months to complete the project and when sold at auction in London in 2022, it realized Stg£202,500.  There are few designers as deserving of such a tribute as French aviation pioneer Gabriel Voisin (1880–1973) who made military aircraft during the First World War (1914-1918) and, under the name Avions Voisin, produced a remarkable range of automobiles between 1919-1939, encapsulating thus the whole inter-war period and much of the art deco era.  Because his designs were visually so captivating, much attention has always been devoted to his lines, curves and shapes but the underlying engineering was also interesting although some of his signature touches, like the (briefly in vogue) sleeve valve engine, proved a mirage.

Voisin's extraordinary visions:  1934 C27 Aérosport (left), 1934-1935 Voisin C25 Aérodynes (centre) & 1931 C20 Mylord Demi Berline (right).

Also a cul-de-sac was his straight-12 engine.  Slow-running straight-12 (there is even a straight-14 which displaces 25,340 litres (1,546,000 cubic inches) and produces 107,290 hp (80,080 kW)) engines are known at sea where they’re used in (very) big ships but on the road (apart from some less than successful military vehicles), only Voisin and Packard ever attempted them, the former making two, the latter, one.  Voisin’s concept was simple enough; it was two straight-6s joined together, end-on-end, the same idea many had used to make things like V12s (2 x V6s) straight-8s (2 x straight-4s) H16s (two flat-8s, one atop another) and even V24s (2 x V12s) but the sheer length of a straight-12 in a car presented unique problems in packaging and the management of the torsional vibrations induced by the elongated crankshaft.  Straight-12s were built for use in aircraft (Bristol's Type 25 Braemar II in 1919 using four of them!) where the attraction was the aerodynamic advantage conferred by the small frontal area but as engine speeds increased in the 1920s, so did the extent of the problem of crankshaft flex and the concept was never revived.

1934 Voisin C15 Saloit Roadster (left) and the one-off Packard straight-12, scrapped when the decision was taken not to proceed to production (right).

The length of the straight-12 meant an extraordinary amount of the vehicle’s length had to be devoted to housing just the engine and that resulted in a high number for what designers call the dash-to-axle ratio.  That was one of the many reasons the straight-12 never came into vogue and indeed was one of the factors which doomed the straight-8, a configuration which at least had some redeeming features.  Voisin must however have liked the appearance of the long hood (bonnet) because the striking C15 Saloit Roadster (which could have accommodated a straight-12) was powered by a straight-4, a sleeve valve Knight of 2500 cm³ (153 cubic inch).  The performance doubtlessly didn’t live up to the looks but so sensuous were those looks that many would forgive the lethargy.  The concept of a short engine in a lengthy compartment was revived by Detroit in the 1960s & 1970s, many of the truly gargantuan full-sized sedans and coupes built with elongated front & rear structures.  At the back, the cavernous trunks (boots) often could swallow four sets of gold clubs which would have had some appeal to the target market but much of the space under the hood was unused.  While large enough to accommodate a V16, the US industry hadn't made those since the last of the Cadillac V16s left the line in 1940 after a ten-year run.  While one of the reasons the V8 had supplanted the straight-8 was its relatively compact length, that virtue wasn't needed by the late 1950s when, in all directions, the sheet-metal grew well beyond what was required by the mechanical components, the additional size just for visual impact to enhance the perception of prestige and luxury in an era when bigger was better.  Dramatic though the look could be (witness the 1969 Pontiac Grand Prix), the packaging efficiency was shockingly wasteful.

The Dart which never was

Using one of his signature outdoor settings, Norman Parkinson (1913-1990) photographed model Suzanne Kinnear (b 1935) adorning a Daimler SP250, wearing a Kashmoor coat and Otto Lucas beret with jewels by Cartier.

The image appeared on the cover (left) of Vogue's UK edition in November 1959, the original's (right) color being "enhanced" in the Vogue pre-production editing tradition (women thinner, cars shinier).  The "wide" whitewall tyres were a thing at the time, even on sports cars and were a popular option on US market Jaguar E-Types (there (unofficially) called XK-E or XKE) in the early 1960s.  The car on the Vogue cover was XHP 438, built on prototype chassis 100002 at Compton Verney in 1959; it's the oldest surviving SP250, the other two prototypes (chassis 100000 & 100001 from 1958) dismantled when testing was completed.  XHP 438 was the factory's press demonstrator and was used in road tests by Motor and Autocar magazines before being re-furbished (motoring journalists subjecting the press fleet to a brief but hard life) and sold.  Uniquely, when XPH 438 was first registered in England, it was as a "Daimler Dart".

More Issues Than Vogue sweatshirt from Impressions.

There was however an issue with the "Dart" name.  The SP250 was first shown to the public at the 1959 New York Motor Show and there the problems began.  Aware the little sports car was quite a departure from the luxurious but rather staid line-up Daimler had for years offered, the company had chosen the pleasingly alliterative “Dart” as its name, hoping it would convey the sense of something agile and fast.  Unfortunately, Chrysler’s lawyers were faster still, objecting that they had already registered Dart as the name for a full-sized Dodge so Daimler needed a new name and quickly; the big Dodge would never be confused with the little Daimler but the lawyers insisted.  Imagination apparently exhausted, Daimler’s management reverted to the engineering project name and thus the car became the SP250 which was innocuous enough even for Chrysler's attorneys and it could have been worse.  Dodge had submitted their Dart proposal to Chrysler for approval and while the car found favor, the name did not and the marketing department was told to conduct research and come up with something the public would like.  From this the marketing types gleaned that “Dodge Zipp” would be popular and to be fair, dart and zip(p) do imply much the same thing but ultimately the original was preferred and Darts remained in Dodge’s lineup until 1976, for most of that time one of the corporation's best-selling and most profitable lines.  Cynically, the name was between 2012-2016 revived for an unsuccessful and unlamented FWD (front-wheel-drive) compact sedan.