Vermiculate

Vermiculate pronounced ver-mik-yuh-leyt (verb) & ver-mik-yuh-lit or ver-mik-yuh-leyt (adjective)

(1) To work or ornament with wavy lines or markings resembling the form or tracks of a worm.

(2) Worm-eaten, or appearing as if worm-eaten.

(3) Figuratively, of thoughts, insinuating; subtly tortuous.

1595–1605: From the French vermiculaire (plural vermiculaires), from the Latin vermiculātus (in the form of worms; inlaid in wavy lines), past participle of vermiculor (I am full of worms; wormy) & vermiculārī (to be worm-eaten), from vermiculus (little worm; grub; wormlet), from vermis (worm), from the primitive Indo-European root wer (to turn; to bend.  The noun vermiculite describes the micaceous, hydrated silicate mineral and was named in 1814, based on its fibrous nature and the reaction observed when heated, the tendency being to expand into worm-like shapes; vermiculite is used in insulation and as a medium for planting.  Vermiculate, vermiculate & vermiculated are verbs & adjectives, vermiculation & vermiculite is a noun, vermicular & vermiculous are adjectives and vermiculating is a verb; the noun plural is vermiculations.

The adjective vermiculative (tending towards being vermiculated) is non-standard; when vermiculate & vermicular are used to refer to thought processes, the suggestion is of something tortuous, intricate or convoluted.  Other terms often used in this context include circuitous, convoluted, indirect, labyrinthine, meandering, serpentine, twisting, winding, coiled, curly, curved, sinuous, anfractuous, bent, crooked, flexuous, involute, mazy, meandrous & roundabout, all based on the picture of the irregular tunnels worms burrow in soil, the idea being of paths which are far from the shortest distance between the beginning and end of travel.  This is a figurative application of zoological behavior and not a slight on worms which have their own agenda.  Because it's so often used as a slight, it should probably not be used to describe deep or complex thoughts, however vermiculous they might appear.

Vermiculated terracotta block, Standard Oil Company Building, Jackson, Mississippi.

Although most associated with the vermiculated work seen in decorative stone masonry, the irregular grooves intended to resemble worm tracks have interested others including mathematicians and chaos theorists.  Engineers have also explored the idea and during the 1970s, tyres were developed with grooves cut in a random pattern (not to be confused with the asymmetric tread pattern Michelin introduced in (1965) on their XAS) rather than the usual structured geometric layout.  The idea was to lower the harmonic resonances created by the tendency of sound waves to be intensified by the recurring patterns; it was about reducing the noise generated and the theory proved sound, the acoustic difference detectable with the sensitive equipment used in laboratories but in real-world use the difference proved imperceptible.  The tyres were briefly available but, offering no advantage, the concept wasn’t pursued.

York Water Gate, England.

In architectural detailing, vermiculation is a form of surface rustication, used usually to create a decorative contrast between the rusticated work, ordinarily confined to the street level of a building (ie within the usual human field of vision) and the less finely dressed work above.  The effect is created with irregular holes and tracts being carved onto a façade, the purpose inherently decorative although some architects do like the idea of representing worms eating their way through the stone, collapsing a building into rubble and ruin, an allusion to the impermanence of architecture, conveying the message that all that is built must eventually crumble and fall.

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

This notion of unavoidable impermanence has disturbed the minds of the more megalomaniacal in the profession, Albert Speer (1905–1981; Nazi court architect 1934-1942; later, as Nazi minister of armaments and war production 1942-1945 turning to war crimes & crimes against humanity) even presenting what he called Die Ruinenwerttheorie (a theory of ruin value) in which he argued it was important the monumental structures then being planned were designed in such as way that, thousands of years hence, as inevitability gradually they collapsed, what remained would be still aesthetically impressive and endure in this form even without maintenance.  Speer’s theory wasn’t new although the spin he felt compelled to attach was inventive.  What he stressed was that buildings designed in accordance with Ruinenwerttheorie were inherently finer works and more imposing during their period of use, an wise thing to emphasize because many less sophisticated types (and there were quite a few) the Führer’s entourage thought appalling the suggestion that anything in their “thousand year Reich” might one day crumble and fall.  Speer however was imagining his reputation surviving well beyond a single millennium and understood the mind of Hitler in such matters, appealing to his vision of what they were creating enduring as monuments to the greatness of the Third Reich, just as the ruins from Ancient Greek and Rome were symbolic of those civilizations.  Hitler concurred with Ruinenwerttheorie after Speer showed him a sketch of one of the gigantic works they planned as an ivy-covered ruin, the drawing very much in the vein of the pictures of Roman ruins well-known to the Führer.  What had scandalized his acolytes, pleased Hitler.

Red carpet vermiculation: Catherine O'Hara (b 1954), Venice International Film Festival, Venice, September 2024 (left) and Emmy Awards, Los Angeles, September 2024.  For red carpet (and related) purposes, the advantage of vermiculated fabric is it can be revealing or demure and, if need be, both within the same garment, the "look" defined merely by adjusting the channel widths. 

40 Bedford Square, London.

As a form of detailing, vermiculation became prevalent in the mid nineteenth century and in the technical language of architecture is often called vermicelli russification, the patterns typically deployed in stucco on cornerstones or keystones around a doorway, lending a bold textural interest to otherwise unrelentingly standardized surfaces, offering a juxtaposition with forms and lines derived from classical principles.  Although not popular as an embellishment until relatively recent times, the origin of the motif is ancient.  One of the first forms of formal architecture was the clay hut in which wormtracts were visible on the surface, made as the industrious little creatures weaved their way in and out of the earth that made up the structure.  Under the heat of the sun, the clay dried and the patterns set, creating what came to be thought an ornamental effect.  It’s from these modest structures that western architecture picked up the idea while constructing ever larger edifices, the vermiculation contrasting with the smooth, sanitized stone surfaces and becoming part of the grammar of classical buildings.

Irish Stock Exchange, Dublin.

Deconstructionists too have provided their own analysis of vermiculation beyond the relief provided from what can be an austere streetscape, claiming it “…represents a valuable counterpoint to symbolic representations of power and authority that pervade the architecture of many western cities”, one case-study focusing on the Irish Stock Exchange (1859) on Angelsea Street, Dublin which has strips of vermiculation on its granite façade.  That site was said to be a place “...where speculation of financial markets is the day’s work, the pattern might be cast as an unnoticed omen of the neoliberal collapse and loss of Irish economic sovereignty in late 2010”.  That’s probably about as abstract as anthropomorphism in stonework gets but there were in the early twentieth century those who devoted some effort to finding hidden meanings in the vermiculated patterns on the facades on Masonic lodges.  The findings were either never published or suppressed by the Freemasons.

Saint

Saint (pronounced seynt)

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

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

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

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

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

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

The Ecstasy of Saint Teresa

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

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

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

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

Ecstasy

Ecstasy (pronounced ek-stuh-see)

(1) Rapturous delight.

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

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

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

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

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

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

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

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

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

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

The Ecstasy of Saint Teresa

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

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

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

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

Float

Float (pronounced floht)

(1) To rest, move or remain on the surface of a liquid (to be buoyant; to be supported by a liquid of greater density, such that part (of the object or substance) remains above the surface) or in the air.

(2) By metaphor, to move lightly and gracefully.

(3) By metaphor, information or items circulating.

(4) Figuratively, to vacillate (often followed by between).

(5) As applied to currencies, to be allowed freely to fluctuate in the foreign-exchange market instead of being exchanged at a fixed or managed rate.

(6) In the administration of interest rates, periodically to change according to money-market conditions.

(7) In the equities markets, the offering of previously privately held stock on public boards; an offering of shares in a company (or units in a trust) to members of the public, normally followed by a listing on a stock exchange.

(8) In the bond markets, an offering.

(9) In theatre, to lay down (a flat), usually by bracing the bottom edge of the frame with the foot and allowing the rest to fall slowly to the floor.

(10) An inflated bag to sustain a person in water; life preserver.

(11) In plumbing, in certain types of tanks, cisterns etc, a device, as a hollow ball, that through its buoyancy automatically regulates the level, supply, or outlet of a liquid.

(12) In nautical jargon, a floating platform attached to a wharf, bank, or the like, and used as a landing; any kind of buoyancy device.

(13) In aeronautics, a hollow, boat-like structure under the wing or fuselage of a seaplane or flying boat, keeping it afloat in water (aircraft so equipped sometimes called “float planes”).

(14) In angling, a piece of cork or other material for supporting a baited line in the water and indicating by its movements when a fish bites.

(15) In zoology, an inflated organ that supports an animal in the water; the gas-filled sac, bag or body of a siphonophore; a pneumatophore.

(16) A vehicle bearing a display, usually an elaborate tableau, in a parade or procession.

(17) In banking, uncollected checks and commercial paper in process of transfer from bank to bank; funds committed to be paid but not yet charged against the account.

(18) In metal-working, a single-cut file (a kind of rasp) of moderate smoothness.

(19) In interior decorating, a flat tool for spreading and smoothing plaster or stucco.

(20) In stonemasonry, a tool for polishing marble.

(21) In weaving and knitting, a length of yarn that extends over several rows or stitches without being interworked.

(22) In commerce, a sum of physical cash used to provide change for the till at the start of a day's business.

(23) In geology and mining, loose fragments of rock, ore, etc that have been moved from one place to another by the action of wind, water etc.

(24) To cause something to be suspended in a liquid of greater density.

(25) To move in a particular direction with the liquid in which one is floating (as in “floating downstream” et al).

(26) In aviation, to remain airborne, without touching down, for an excessive length of time during landing, due to excessive airspeed during the landing flare.

(27) To promote an idea for discussion or consideration.

(28) As expression indicating the viability of an idea (as in “it’ll never float”, conveying the same sense as “it’ll never fly”).

(29) In computer (graphics, word processing etc), to cause an element within a document to “float” above or beside others; on web pages, a visual style in which styled elements float above or beside others.

(30) In UK use, a small (often electric) vehicle used for local deliveries, especially in the term “milk float” (and historically, the now obsolete “coal float”).

(31) In trade, to allow a price to be determined by the markets as opposed to by rule.

(32) In insurance, premiums taken in but not yet paid out.

(33) In computer programming, as floating-point number, a way of representing real numbers (ie numbers with fractions or decimal points) in a binary format

(34) A soft beverage with a scoop of ice-cream floating in it.

(35) In poker, a manoeuvre in which a player calls on the flop or turn with a weak hand, with the intention of bluffing after a subsequent community card.

(36) In knitting, one of the loose ends of yarn on an unfinished work.

(37) In transport, a car carrier or car transporter truck or truck-and-trailer combination; a lowboy trailer.

(38) In bartending, the technique of layering of liquid or ingredients on the top of a drink.

(39) In electrical engineering, as “float voltage”, an external electric potential required to keep a battery fully charged

(40) In zoology, the collective noun for crocodiles (the alternative being “bask”).

(41) In automotive engineering, as “floating axle”, a type of rear axle used mostly in heavy-duty vehicles where the axle shafts are not directly attached to the differential housing or the vehicle chassis but instead supported by bearings housed in the wheel hubs.

Pre 1000: From the Middle English floten, from the Old English flotian (to float), from the Proto-Germanic flutōną (to float), from the primitive Indo-European plewd- & plew- (to float, swim, fly).  It was cognate with the Saterland Frisian flotje (to float), the West Frisian flotsje (to float), the Dutch vlotten (to float), the German flötzen & flößen (to float), the Swedish flotta (to float), the Lithuanian plaukti, the Middle Low German vloten & vlotten (to float, swim), the Middle Dutch vloten, the Old Norse flota, the Icelandic fljóta, the Old English flēotan (to float, swim), the Ancient Greek πλέω (pléō), the Lithuanian plaukti, the Russian пла́вать (plávatʹ) and the Latin plaustrum (wagon, cart).  It was akin to the Old English flēotan & Old Saxon flotōn (root of fleet).  The meaning “to drift about, passively to hover" emerged circa 1300 while the transitive sense of “to lift up, to cause to float (of water etc)” didn’t come into use for another 300-odd years and the notion of “set (something) afloat” was actually originally figurative (originally of financial matters) and noted since 1778.  Float was long apparently restricted to stuff in the water and didn’t come into use to refer to things in the air until the 1630s, this extending to “hover dimly before the eyes” by at least 1775.   In medicine, the term “floating rib” was first used in 1802, so called because the anterior ends are not connected to the rest.  The Proto-Germanic form was flutojanan, from the primitive Indo-European pleu (to flow) which endures in modern use as pluvial.

Etymologists have concluded the noun was effectively a merger in the Middle English of three related Old English nouns: flota (boat, fleet), flote (troop, flock) & flot (body of water, sea), all from the same source as the verb.  The early senses were the now-mostly-obsolete ones of the Old English words: the early twelfth century “state of floating"”, the mid thirteenth century “swimming”, the slightly later “a fleet of ships; a company or troop” & the early fourteenth century “stream or river”.  From circa 1300 it has entered the language of fishermen to describe the attachments used to add buoyancy to fishing lines or nets and some decades later it meant also “raft”.  The meaning “a platform on wheels used for displays in parades etc” dates from 1888 and developed either from the manner they percolated down a street on from the vague resemblance to flat-bottomed boat which had been so described since the 1550s.  The type of fountain drink, topped with a scoop of ice cream was first sold in 1915.

The noun floater (one who or that which floats) dates from 1717 as was the agent noun from the verb.  From 1847 it was used in political slang to describe an independent voter (and in those days with the implication their vote might be “for sale”), something similar to the modern “swinging voter”.  By 1859 it referred to “one who frequently changes place of residence or employment” and after 1890 was part of US law enforcement slang meaning “dead body found in the water”.  The noun flotation dates from 1765, the spelling influenced by the French flotaison.  The adverb afloat was a direct descendent from the Old English aflote.  In idiomatic use, it was the boxer Muhammad Ali (1942–2016) who made famous the phrase “float like a butterfly; sting like a bee” and “whatever floats your boat” conveys the idea that individuals should be free to pursue that which they enjoy without being judged by others.  To “float someone’s boat” is to appeal to them in some way.  Float is a noun & verb, floater is a noun, floated is a verb, floating is a noun, verb & adjective and floaty is a noun & adjective; the noun plural is floats.

Lindsay Lohan floating in the Aegean, June 2022.

In the modern age, currencies began to be floated in the early 1970s after the collapse of the Bretton Woods system (1944) under which most major currencies were fixed in relation to the US dollar (which was fixed to gold at a rate of US$35 per ounce).  That didn’t mean the exchange rates were static but the values were set by governments (in processes called devaluation & revaluation) rather than the spot market and those movements could be dramatic: In September 1949, the UK (Labour) government devalued Sterling 30.5% against the US dollar (US$4.03 to 2.80).  The Bretton Woods system worked well (certainly for developed nations like the US, the UK, Japan, Canada, Australia, New Zealand and much of western Europe) in the particular (and historically unusual) circumstances of the post-war years but by the late 1960s, with the US government's having effectively printed a vast supply of dollars to finance expensive programs like the Vietnam War, the nuclear arms build-up, the “Great Society” and the space programme, and social programs, surplus dollars rapidly built up in foreign central banks and increasingly these were being shipped back to the US to be exchanged for physical gold bars.  In 1971, the Nixon administration (1969-1974) responded to the problem of their dwindling gold reserves by suspending the convertibility, effectively ending the Bretton Woods system and making floating exchange probably inevitable, the trend beginning when Japan floated the Yen in 1973.

A Bloomberg chart tracking the effect of shifting the US dollar from its link with gold to a fiat currency.  Due to this and other factors (notably the oil price), in the 1970s, the bills of the 1960s were paid.

Others however moved more slowly, many adopting the tactic of the Australian government which as late as 1983 was still running what was known as a “managed float”, an arrangement whereby the prime-minister, the treasurer and the head of the treasury periodically would meet and, using a “a basket of currencies”, set the value of the Australian dollar against the greenback and the other currencies (the so-called “cross-rates”).  Now, most major Western nations have floating currencies although there is sometimes some “management” of the “float” by the mechanism of central banks intervening by buying or selling.  The capacity for this approach to be significant is however not as influential as once it was because the numbers in the forex (foreign exchange) markets are huge, dwarfing the trade in commodities bonds or equities; given the volumes, movements of even fractions of a cent can mean overnight profits or losses in the millions.  Because some "floats" are not exactly "free floats" in which the market operates independently, there remains some suspicion that mechanisms such as "currency pegs" (there are a remarkable variety of pegs) and other methods of fine tuning can mean there are those in dark little corners of the forex world who can benefit from these manipulations.  Nobody seem prepared to suggest there's "insider trading" in the conventional sense of the term but there are some traders who appear to be better informed that others. 

Stucco

Stucco (pronounced stuhk-oh)

(1) A weather-resistant mixture of dehydrated lime, powdered marble, and glue, mixed with water and laid on wet, used in buildings to create decorative moldings or wall finishes.

(2) Any of various fine plasters for decorative work, moldings.

(3) Any of various finishes made with cement, plaster, or mortar, as albarium.

(4) A wall, facing, molding, or other work made of such materials.

1590–1600: From the Italian stucco (fine plaster used as wall coating; coating made of pulverised gypsum, plaster), from the Lombardic (or Langobardic, an extinct West Germanic language was spoken by the Lombards (Langobardi), the Germanic people who settled in Italy in the sixth century. It was already in rapid decline by the seventh century because the invaders adopted the Latin vernacular spoken by the local Roman population) stucchi and related to the Old High German stucki & stukki (crust; piece; fragment) from the Proto-Germanic stukkjam & stukkiją (stump, piece), ultimately from the primitive Indo-European (s)teu- & (s)tewg- (to push, stick, knock, beat, shock, butt, impact) which evolved also into stock.  It was akin to the German Stück (piece), the Old Saxon stukki (piece, fragment) and the Old English stycce.  The Germanic form survives in Modern German as Stück.  Stucco and stuccoer are nouns, the noun plural being stuccoes or stuccos.  The verb (used with object) is stuccoed or stuccoing, a form attested from 1726.

In English, the meaning of stucco diverged from the Italian and Germanic sense from which it was borrowed.  Whereas in Italian when speaking of stucco, one might be referring either to the raw material or the finished product, in English, it means exclusively the latter.

Stucco relief panel from early Imperial Rome, dated to the second half of the first century AD, Metropolitan Museum of Art, New York.

The female figure is thought to represent a maenad, one of the female followers of Dionysos.  She’s depicted floating, her garment opened to the waist, her left leg revealed.  She holds a long, thin wand-like stick over her left arm, a garland with ribbons in her right hand.  Dionysus was the love child of Zeus and Semele and a rarity among the gods, his mother being a mortal.  While the parentage is certain, there are two different versions regarding the birth, which, in the way of Greek mythology involve infidelity, jealousy, infanticide (by Zeus’ bitter wife) and reincarnation and it’s the idea of re-birth which saw him adopted as a god by several religions.  Still his troubles didn’t end even after being re-born.  Zeus, an early example of the absent father, entrusted the upbringing of Dionysus to the rain-nymphs who proved so diligent they were rewarded by being turned into a star-cluster but this failed to impress Zeus’s wife, Hera, who remained angry the evidence of her husband’s unfaithfulness was still alive and in vengeance, inflicted madness upon the child.  In this state, for years and years he roamed the earth until rescued and cured by the goddess Cybele who instructed him in her rituals and he began to travel, teaching those he met how to make wine.  In symbology Dionysus is thus the god of wine and the grape harvest and, because of his difficult youth, also of ritual madness & religious ecstasy.  He’s depicted usually with a dual nature, the Greek’s cautionary tale about the good and evil of wine for Dionysus was known to bring happiness and joy to those around him but if angered, there could also be rage and brutality.

Stucco finish on Art Deco house, circa 1935.

In architecture, most building materials and methods of construction were easily adapted to structures designed with straight lines and predictable angles but stucco was especially suited to the shapes and curves of art deco.  Stucco is made from a mix of Portland cement, sand, limestone, water and chemical additives to increase material’s strength and flexibility.  It creates a rigid and durable material and, being fire and pest-resistant, it’s always been popular in residential buildings.  It’s regarded as low-maintenance but shouldn’t be treated as maintenance-fee, cracks can appear, even in high quality installations and, despite appearances, can’t be dismissed a merely cosmetic and should immediately be re-sealed.  Stucco is porous, so may not be suitable to use in a tropical climate, the proneness to moisture absorption meaning mold can appear, either on the surface or underneath and once there, can spread to framing.  The vapor barrier, usually of tar paper, which should be applied prior to installation, does act as a protective layer but in some conditions isn’t all that ameliorative.

Lindsay Lohan’s former residence (2011-2012), 419 Venice Way, Venice, California 90291.  417 & 419 Venice Way are a pair of mirror-image stucco buildings, built in 2007.  Lindsay Lohan lived in the one on the right (419) while the left (417) was occupied by former special friend Samantha Ronson.

Where conditions are suitable, stucco is a good choice for either flat surfaces or creating curves.  Applied with a smooth or textured finish, it can be tinted across a wide spectrum or can be painted although, because of the porousness, many architects recommend against painting because it better to allow the building to “inhale and exhale”.  Stucco is durable, properly maintained stucco buildings over a hundred years old are common, many from the nineteenth century, the survival rate influenced as much by the prevailing climate as the quality of the installation.  The dampness which can cause mold through moisture transfer can also induce cracking in places prone to sub-zero temperatures, severe damage possible during freeze and thaw cycles.  Cracks can happen too in places subject to wide variations in temperature because, being rigid, as a structure expands and contracts, the forces of push and pull will stress the material.  For this reason, it’s ideal also to build in places of known geological stability, stucco more prone to fracture during movement than some other materials.  Cracks in stucco are not uncommon yet should be infrequent, repaired most often with a flexible exterior caulk and most are now elastomeric and thus both strong and very flexible.  Chips can be fixed with either a traditional stucco patch or, if large, set back in place using the acrylic caulk as a glue.