Vorticism

Vorticism (pronounced vawr-tuh-siz-uhm)

A short-lived movement in the British avant-garde, nurtured by Wyndham Lewis, which climaxed in a London exhibition in 1915 before being absorbed.

1914: The construct was vortic + -ism.  The Latin vortic was the stem of vortex, (genitive vorticis), an archaic from of vertex (an eddy of water, wind, or flame; whirlpool; whirlwind whirl, top, crown, peak, summit), from vertō (to turn around, turn about) from vertere (to turn), from the primitive Indo-European wer (to turn; bend).  The –ism suffix is from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  Vorticism is a noun, vorticist is a noun & adjective and vorticistic is an adjective; the noun plural was vorticists,  The forms vorticistically & vortical seem never to have come into use.

Hieratic head of Ezra Pound (1914), by Henri Gaudier-Brzeska (1891-1915).

The name Vorticism was said to have been coined in 1914 by the poet Ezra Pound (1885–1972) years before fascism and madness possessed his soul.  Pound had already used the word "vortex" to describe the effect modernist poetry was having on intellectual thought in Europe and he used the word not in the somewhat vague sense it often assumed when used figuratively to suggest swirling turbulence but rather as a mathematician or meteorologist might: an energy which gathers from the surrounding chaos what’s around, imparts to it a geometrical form which, intensifying as it goes, arrives at a single point.  Pound’s coining of the name is generally accepted but some historians claim the name was chosen by the Italian futurist Umberto Boccioni (1882-1916) who claimed all creative art could emanate only from a vortex of emotions.

Blast Magazine, July 1915.

Vorticism flourished only briefly between 1912-1915 as an overly aggressive reaction to what was held to be an excessive attachment to and veneration for delicacy and beauty in art and literature, preferring to celebrate the tools of modernity, the violence and energy of machines.  In painting and sculpture the angles were sharp and the lines bold, colors displayed in juxtaposition to emphasize the starkness of their difference and there was a reverence for geometric form and repetition.  The movement in 1914 published its own magazine: Blast: the Review of the Great English Vortex which was more manifesto than critique, a London-based attempt to gather together the artists and writers of the avant‐garde in one coherent movement.  It wanted the shock of the new.

Composition (1913), by Wyndham Lewis (1882-1957).

The idea was an art which reflected the strains of the vortices of a modern life in what was increasingly a machine age.  Thus, although it remains a footnote in the history of modern art, the label Vorticism refers to a political and sociological point rather than a distinct style such as contemporaries like Cubism or Futurism.  The timing was of course unfortunate and the outbreak of World War I (1914-1918) robbed Vorticism of much of its initial energy; the exhibition eventually staged in London’s Doré Gallery in 1915 remained a one-off and, like much of the pre-1914 world, Vorticism didn’t survive the World War.

Dance Hall Scene (circa 1913), by CRW Nevinson (1889-1946).

Being unappreciated at the time, most of the paintings of the vorticists were lost but retrospectives have been assembled from what remains and the still extant photographic record and there’s now a better understanding of the legacy and the influence on art deco, dada, surrealism, pop art, indeed, just about any abstract form.  Graphic art too benefited from the techniques, the sense of line and color identifiable in agitprop, twentieth century advertising and, most practically, the “dazzle” camouflage used by admiralties in both world wars as a form of disguise for ships.

Juan Garrido, a graphic designer based in Caracas, Venezuela, created the display typeface Vorticism in 2013.  Reflecting the cultural and linguistic influences, while there are a number of typefaces called futurism (or some variation) and some based on the word "vortex", Mr Garrido's "Vorticism" is uniquely named.

Lindsay Lohan in the Vorticism typeface.

Ezra Pound (1919), by Wyndham Lewis.

Even in 1912, Vorticism’s use of bold, abstract, and geometric forms (often depicting movement and mechanical apparatuses) wasn’t new but the movement had an energy which attracted those wanting to create imagery which marked a dramatic break from the representational forms which then were still dominant early in the ear which would come to be known as the dawn of modernity.  In that sense, Vorticism is understood as one of a number of movements embracing a new aesthetic reflecting the dynamism and energy of the modern world.  That as a distinct entity Vorticism didn’t endure was in a way an indication of success rather than failure because its motifs and techniques were co-opted to serve as foundational aspects of many movements in modern art, the abstract and geometric forms underpinning Futurism and Constructivism as well as becoming a staple of commercial graphic art and advertising.  Perhaps the most obvious influence was the artistic legitimization of the integration of text into images, a practice borrowed from commerce and a notable signature of Dada and Surrealism.  The use of text as a visual element challenged traditional boundaries between different art forms, a tension which enabled Pop art to create was in some ways a novel ecosystem.  However, those same motifs have been used also as something illustrative of the destructive tendencies of the speed and spread of mechanical and industrial reality which the vorticists championed and Precisionism & Bauhaus celebrated, at least in a sanitized and idealized way which hid the essential ugliness below.

Monocoque

Monocoque (pronounced mon-uh-kohk or mon-oh-kok (non-U))

(1) A type of boat, aircraft, or rocket construction in which the shell carries most of the stresses.

(2) A type of automotive construction in which the body is combined with the chassis as a single unit.

(3) A unit of this type.

1911: From the French monocoque (best translated as “single shell” or “single hull” depending on application), the construct being mono- + coque.  Mono was from the Ancient Greek μόνος (monos) (alone, only, sole, single), from the primitive Indo-European root men (small, isolated).  Coque was from the Old French coque (shell) & concha (conch, shell), from the Latin coccum (berry) and concha (conch, shell) from the Ancient Greek κόκκος (kókkos) (grain, seed, berry).  In the early twentieth century, it was the French who were most dominant in the development of aviation.  Words like “monocoque”, “aileron”, “fuselage” and “empennage” are of French origin and endure in English because it’s a vacuum-cleaner of a language which sucks in anything from anywhere which is handy and manageable.  Monocoque is a noun; the noun plural is monocoques.

Noted monocoques

Deperdussin Monocoque, 1912.

A monocoque (sometime referred to as structural skin) is a form of structural engineering where loads and stresses are distributed through an object's external skin rather than a frame; concept is most analogous with an egg shell. Early airplanes were built using wood or steel tubes covered with starched fabric, the fabric rendering contributing only a small part to rigidity.  A monocoque construction integrates skin and frame into a single load-bearing shell, reducing weight and adding strength.  Although examples flew as early as 1911, airframes built as aluminium-alloy monocoques would not become common until the mid 1930s.  In a pure design where only function matters, almost anything can be made a stressed component, even engine blocks and windscreens.

Lotus 25, 1962.

In automotive design, the word monocoque is often misused, treated as a descriptor for anything built without a separate chassis.  In fact, most road vehicles, apart from a handful of expensive exotics, are built either with a separate chassis (trucks and some SUVs) or are of unibody/unitary construction where box sections, bulkheads and tubes to provide most of the structural integrity, the outer-skin adding little or no strength or stiffness.  Monocoque construction was first seen in Formula one in 1962, rendered always in aluminium alloys until 1981 when McLaren adopted carbon-fibre.  A year later, the McLaren F1 followed the same principles, becoming the first road car built as a carbon-fibre monocoque.

BRM P83 (H16), 1966.

In 1966, there was nothing revolutionary about the BRM P83’s monocoque chassis.  Four years earlier, in the second season of the voiturette era, that revolution had been triggered by the Lotus 25, built with the first fully stressed monocoque chassis, an epoch still unfolding as materials engineering evolves; the carbon-fibre monocoques seen first in the 1981 McLaren MP4/1 becoming soon ubiquitous.  The P83 used a monocoque made from riveted Duralumin (the word a portmanteau of durable and aluminium), an orthodox construction for the time.  Additionally, although it had been done before and would soon become an orthodoxy, what was unusual was that the engine was a stressed part of the monocoque.

BRM Type 15 (V16), 1949.

The innovation was born of necessity.  Not discouraged by the glorious failure of the extraordinary V16 BRM had built (with much much fanfare and precious little success) shortly after the war, the decision was taken again to join together two V8s in one sixteen cylinder unit.  Whereas in 1949, the V8s had been coupled at the centre to create a V16, for 1966, the engines were re-cast as 180^o flat 8s with one mounted atop another in an H configuration, a two-crankshaft arrangement not seen since the big Napier-Sabre H24 aero-engines used in the last days of the war.  The design yielded the advantage that it was short, affording designers some flexibility in lineal placement, but little else.  It was heavy and tall, exacerbating further the high centre of gravity already created by the need to raise the engine location so the lower exhaust systems would clear the ground.  Just as significantly, it was wide, too wide to fit into a monocoque socket and thus was taken the decision to make the engine an integral, load-bearing element of the chassis.  There was no other choice.

BRM H16 engine and gearbox, 1966.

 

Structurally, it worked, the monocoque was strong and stable and despite the weight and height, the P83 might have worked if the H16 had delivered the promised horsepower but the numbers were never realised.  The early power output was higher than the opposition but it wasn’t enough to compensate for the drawbacks inherent in the design and, these being so fundamental they couldn’t be corrected, the only hope was even more power.  The path to power was followed and modest increases were gained but it was never enough and time ran out before the plan to go from 32 to 64 valves could come to fruition, an endeavour some suggested would merely have “compounded the existing error on an even grander scale.”  Additionally, with every increase in power and weight, the already high fuel consumption worsened.

The H16 did win one grand prix, albeit in a Lotus rather than a BRM monocoque, but that was a rare success; of the forty times it started a race, twenty-seven ended prematurely.  The irony of the tale is that in the two seasons BRM ran the 440 horsepower H16 with its sixteen cylinders, two crankshafts, eight camshafts and thirty-two valves, the championship in both years was won by the Repco-Brabham, its engine with 320 horsepower, eight cylinders, one crankshaft, two camshafts and sixteen valves.  Adding insult to the exquisitely bespoke H16’s injury, the Repco engine was based on an old Oldsmobile block which General Motors had abandoned.  After two seasons the H16 venture was retired, replaced by a conventional V12.

The Mercedes-Benz SLR McLaren

Mercedes-Benz McLaren SLR Coupé (left), Roadster (centre) and Speedster (right).

The monocoque Mercedes-Benz SLR McLaren (C199 / R199 / Z199) was a joint development with McLaren Automotive and was available as a coupé (2003-2010), roadster (2007-2009) & speedster (2009).  Visually, the car was something of an evocation of the 300 SLR gullwing coupé, two of which were built in 1955 for use in competition but never used, one of the consequences of the disaster that year during the Le Mans 24 hour endurance classic when a 300 SLR crashed into the crowd, killing 84 and injuring dozens of others.  Footage of that event is widely available and to a modern audience it will seem extraordinary the race was allowed to continue.

Lindsay Lohan, Britney Spears and Paris Hilton in Ms Hilton's Mercedes-Benz McLaren SLR, outside the Beverley Hills Hotel, Los Angeles.  This was the occasion which produced the photograph which appeared on the infamous “Bimbo Summit” front page of Rupert Murdoch’s (b 1931) New York Post, 29 November 2006.

The 300 SLR (Sport Leicht Rennsport (Sport Light Racing)) which crashed was an open version and the model name was a little opportunistic because it was essentially the W196R Formula One car with a 3.0 litre straight-8 (the F1 rules demanded a 2.5) so the SLR, built to contest the World Sports Car Championship, was technically the W196S; it became the 300 SLR to cross-associate it and the 300 SL gullwing (W198, 1954-1957).  Nine were built, two of which were converted to SLR gullwings and, although never raced, they came to be dubbed the “Uhlenhaut coupés” because they were co-opted by racing team manager Rudolf Uhlenhaut (1906–1989) as high-speed personal transport, tales of his rapid trips between German cities soon the stuff of legend and even if a few myths developed, the cars could exceed 290 km/h (180 mph) so some at least were probably true.  That what was essentially a Grand Prix race car with a body and headlights could be registered for road use is as illustrative as safety standards at Le Mans of how different was the world of the 1950s.  In 2022, one of the Uhlenhaut coupés was sold at auction to an unknown buyer (presumed to be Middle Eastern) for US$142 million, becoming by some margin the world’s most expensive used car.

As a footnote (one to be noted only by the subset of word nerds who delight in the details of nomenclature), for decades, it was said by many, even normally reliable sources, that SL stood for sports Sports Leicht (sports light) and the history of the Mercedes-Benz alphabet soup was such that it could have gone either way (the SSKL (1929) was the Super Sports Kurz (short) Leicht (light) and from the 1950s on, for the SL, even the factory variously used Sports Leicht and Super Leicht.  It was only in 2017 it published a 1952 paper (unearthed from the corporate archive) confirming the correct abbreviation is Super Leicht.  Sports Leicht Rennsport (Sport Light Racing) seems to be used for the the SLRs because they were built as pure race cars, the W198 and later SLs being road cars but there are references also to Super Leicht Rennsport.  By implication, that would suggest the original 300SL (the 1951 W194) should have been a Sport Leicht because it was built only for competition but given the relevant document dates from 1952, it must have been a reference to the W194 which is thus also a Sport Leicht.  Further to muddy the waters, in 1957 the factory prepared two lightweight cars based on the new 300 SL Roadster (1957-1963) for use in US road racing and these were (at the time) designated 300 SLS (Sports Leicht Sport), the occasional reference (in translation) as "Sports Light Special" not supported by any evidence.  The best quirk of the SLS tale however is the machine which inspired the model was a one-off race-car built by Californian coachbuilder ("body-man" in the vernacular of the West Coast hot rod community) Chuck Porter (1915-1982).  Porter's SLS was built on the space-fame of a wrecked 300 SL gullwing (purchased for a reputed US$500) and followed the lines of the 300 SLR roadsters as closely as the W198 frame (taller than that of the W196S) allowed.  Although it was never an "official" designation, Porter referred to his creation as SL-S, the appended "S" standing for "scrap".      

The SLR and its antecedents.

A Uhlenhaut coupé and a 300 SLR of course appeared for the photo sessions when in 2003 the factory staged the official release of the SLR McLaren and to may explicit the link with the past, the phrase “gullwing doors” appeared in the press kit documents no less than seven times.  Presumably, journalists got the message but they weren’t fooled and the doors have always, correctly, been called “butterflies”.  Unlike the machines of the 1950s which were built with an aluminium skin atop a space-frame, the twenty-first century SLRs were a monocoque (engineers say the sometimes heard “monocoque shell” is tautological) of reinforced carbon fibre.  Although the dynamic qualities were acknowledged and it was, by all but the measure of hyper-cars, very fast indeed, the reception it has enjoyed has always been strangely muted, testers seeming to find the thing rather “soulless”.  That seemed to imply a lack of “character” which really seems to suggest an absence of obvious flaws, the quirks and idiosyncrasies which can at once enrage and endear.

The nature of monocoque.

The monocoque construction offered one obvious advantage in that the inherent stiffness was such that the creation of the roadster version required few modifications, the integrity of the structure such that not even the absence of a roof compromised things.  Notably, the butterfly doors were able to be hinged along the windscreen (A) pillars, such was the rigidity offered by carbon fibre, a material for which the monocoque may have been invented.  McLaren would later use a variation of this idea when it released the McLaren MP4-12C (2011-2014), omitting the top hinge which allowed the use of frameless windows even on the roadster (spider) version.

The SLR Speedster (right) was named the Stirling Moss edition and was a homage to the 300 SLR (left) which in the hands of Sir Stirling Moss (1929–2020) and navigator Denis Jenkinson (1920–1996), won the 1955 Mille Miglia (an event run on public roads in Italy over a distance of 1597 km (992 miles)) at an average speed of 157.65 km/h (97.96 mph).

However, the minimalist (though very expensive) Speedster had never been envisaged when the monocoque was designed and to ensure structural integrity, changes had to be made to strengthen what would have become points of potential failure, the removal of the windscreen fame and assembly having previously contributed much to rigidity.  Door sills were raised (recalling the space frame which in 1951 had necessitated the adoption of the original gullwing doors on the first 300 SL (W194)) and cross-members were added across the cockpit, integrated with a pair of rollover protection bars.  Designed for speed, the Speedster eschewed niceties such as air-conditioning, an audio system, side windows and sound insulation; this was not a car for Paris Hilton.  All told, despite the additional bracing, the Speedster weighed 140 kg (310 lb) less than the coupé while the supercharged 5.5 litre V8 was carried over from the earlier 722 edition but the reduction in frontal area added a little to top speed, now claimed to be 350 km/h (217 mph) although the factory did caution that above 160 km/h (100 mph), the dainty wind deflectors would no longer contain the wind and a crash helmet would be required so even if the lack of air-conditioning might have been overlooked, that alone would have been enough for Paris Hilton to cross the Speedster off her list; she wouldn't want "helmet hair".  Only 75 were built, none apparently ever driven, all spending their time on display or the auction block, exchanged between collectors.

Purgatory

Purgatory (pronounced pur-guh-tree (U), pur-guh-tawr-ee (non-U) or pur-guh-tohr-ee (non-U)

(1) In the orthodox theology of the Roman Catholic Church (and in some other Christian denominations), a condition or place in which the souls of those dying penitent (in a state of grace) are purified from venial sins, or undergo the temporal punishment that, after the guilt of mortal sin has been remitted, still remains to be endured by the sinner.

(2) In the Italian Purgatorio (pronounced poor-gah-taw-ryaw), the second part of Dante's (Dante Alighieri (circa 1265–1321)) Divine Comedy (1320), in which repentant sinners are depicted.

(3) Any condition or place of temporary punishment, suffering, expiation, or the like; any place of suffering, usually for past misdeeds.

(4) Serving to cleanse, purify, or expiate.

1160-1180: From the Middle English purgatorie (place or condition of temporal punishment for spiritual cleansing after death of souls dying penitent and destined ultimately for Heaven), from the Old French purgatore & purgatorie, from the Medieval Latin pūrgātōrium (means of cleaning), noun use of neuter of the Late Latin pūrgātōrius (purging, literally “place of clensing”), the construct being pūrgā(re) (to purge) + -tōrius (-tory), the adjectival suffix, from purgat-, past-participle stem of pūrgāre (to purge, cleanse, purify).  The adjectival form developed in the late thirteenth century, independent of the evolution in Church Latin.  The figurative use (state of mental or emotional suffering, expiation etc) dates from the late fourteenth century, originally used poetically especially despairingly when speaking of unrequited love, or (and this may seem a paradox to same and merely descriptive to others), of marriage.   In old New England it was used of narrow gorges and steep-sided ravines, a reference to the difficulties to be dad when negotiating such terrain.  Purgatory, purgatorium & purgatorian are nouns and purgatorial is an adjective; the noun plural is purgatories.

Mankind's Eternal Dilemma: The Choice Between Virtue and Vice (1633) by Frans Francken the Younger (1581–1642), Museum of Fine Arts (MFA), Boston.

In the teachings of the Roman Catholic Church, the purgatory is the condition of souls of the dead who die with punishment but not damnation due them for their sins committed on Earth.  Purgatory is conceived as a condition of suffering and purification that leads to union with God in heaven and is something thus inherently temporary and has always been a bit of a theological problem because it’s not mentioned (or even alluded to) in the Bible.  The usual rationalization of this scriptural lacuna is the argument that prayer for the dead is an ancient practice of Christianity and one which has always assumed the dead can be in a state of suffering, something which the living can improve by their prayers.  Theological positions have hung on thinner strands than that and within Roman Catholicism, purgatory has never attracted the controversy which so excited critics of limbo, a rather more obviously unjust medieval conjecture, but many branches of Western Christianity, notably the Protestant tradition, deny its existence although among the more ritualistic, there are those who conceive purgatory as a place and one often depicted as filled with fire.  The transitory nature of the condition has often encouraged misunderstanding for it is not a place of probation; the ultimate salvation of those in purgatory assured, the impenitent not received into purgatory.  Instead, the souls in purgatory receive relief through the prayers of the faithful and through the sacrifice of the mass, the confusion perhaps arising from the imagining the destructive nature of fire on Earth whereas upon the soul with no earthly attachment, it can be only cleansing.

So purgatory is the state of those who die in God's grace but are not yet perfectly purified; they are guaranteed eternal salvation but must undergo purification after death to gain the holiness needed to enter heaven.  The purgatory, the framework of which was fully developed at the Councils of Florence (1431-1449) and Trent (1545 and 1563), is totally different from the punishment of the damned who are subject to a cleansing fire, the scriptural explanation being "The person will be saved, but only through fire" (1 Corinthians 3:15) but even then the Church recognized degrees of sin as Pope Gregory I (Saint Gregory the Great, circa 540–604; pope 590-604) helpfully clarified: "As for certain lesser faults, there is a purifying fire."  The possibilities were made explicit during the Council of Trent in the statement “God predestines no one to hell” which made clear that damnation is visited upon sinners only by a persistence in mortal sin until death and God would much prefer "all to come to repentance" (2 Peter 3:9).   In the Roman ritual, the relevant line is "save us from final damnation and count us among those you have chosen" and through purgatory, souls "achieve the holiness necessary to enter the joy of heaven".  Mortal sin incurs both temporal punishment and eternal punishment, venial sin ("forgivable sin” in this context) incurs only temporal punishment. The Catholic Church makes a distinction between the two.

Dante and Virgil Entering Purgatory (1499-1502) by Luca Signorelli (circa 1444-1523), Chapel of San Brizio, Duomo, Orvieto, Italy.  The pair are shown in the first terrace watching souls of the prideful being made to cat stones on their backs.

The noun purgatory appeared perhaps between 1160 and 1180, giving rise to the idea of purgatory as a place but the Roman Catholic tradition of purgatory as a transitional condition has a history that pre-dates even the birth of Christ.  There was, around the world, a widespread practice of both caring for and praying for the dead, the idea that prayer contributed to their purification in the afterlife.  Anthropologists note the ritual practices in other traditions, such as the way medieval Chinese Buddhists would make offerings on behalf of the dead, said to suffer numerous trials so there is nothing novel in the practice which is mentioned in what the Roman Catholic Church has declared to be part of Sacred Scripture, and which was adopted by Christians from the beginning, a practice that pre-supposes that the dead are thereby assisted between death and their entry into their final and eternal abode.

Whether purgatory is actually a place has in Roman circles been discussed for centuries.  In 2011 Pope Benedict XVI (b 1927; pope 2005-2013, pope emeritus since), speaking of Saint Catherine of Genoa (1447–1510), said that in her time the purgatory was pictured as a location in space, but that she saw it as a purifying inner fire, such as she experienced in her profound sorrow for sins committed, such a contrast with God's infinite love.  The failing of man she said was being bound to the desires and suffering that derive from sin and that makes it impossible for the soul to enjoy the beatific vision of God.  Noting that little appeared to have changed, Benedict noted "We too feel how distant we are, how full we are of so many things that we cannot see God. The soul is aware of the immense love and perfect justice of God and consequently suffers for having failed to respond in a correct and perfect way to this love; and love for God itself becomes a flame, love itself cleanses it from the residue of sin."

The Eastern Catholic Churches are Catholic churches sui iuris of Eastern tradition, (in full communion with the Pope) but there are some differences with Rome on aspects of purgatory, mostly relating to terminology and speculation.  The Eastern Catholic Churches of Greek tradition do not generally use the word "purgatory", but agree that there is a "final purification" for souls destined for heaven and that prayers can help the dead who are in that state of "final purification".  In neither east nor west are these matters thought substantive and are regarded as nuances and differences of tradition.  The Eastern Catholic Churches belonging to the Syriac Tradition (Chaldean, Maronite and Syriac Catholic), generally believe in the concept of Purgatory but use a different name (usually Sheol) and claim there is contradiction with the Latin-Catholic doctrine.  Rome appears never to have pursued the matter.

La Divina Commedia di Dante (Dante and His Poem), oil on canvas by Domenico di Michelino  (1417–1491) after Alesso Baldovinetti  (1425–1499), collection of Florence Cathedral, Italy.  This work, in depicting the seven terraces in the form of the mountain were one approach to Dante's Purgatory, the other a focus on one level. 

The Eastern Orthodox Church rejects the term "purgatory" but does admit an intermediate state after death, the determination of Heaven and Hell being stated in the Bible and it notes prayer for the dead is necessary.  The position of Constantinople and environs is that the moral progress of the soul, for better or worse, ends at the very moment of the separation of body and soul; it is in that instant the definite destiny of the soul in the everlasting life is decided.  There is no way of repentance, no way of escape, no reincarnation and no help from the outside world, the eternal place of the soul decided forever by its Creator and judge.  Thus the Orthodox position is that while all undergo judgment upon death, neither the just nor the wicked attain the final state of bliss or punishment before the last day, the obvious exception being the righteous soul of the Theotokos (the Blessed Virgin Mary), "who was borne by the angels directly to heaven".

Generally, Protestant churches reject the doctrine of purgatory although more than one Archbishop of Canterbury may have come to regard Lambeth Palace as Purgatory on Earth.  One of Protestantism's most cited tenets is sola scriptura (scripture alone) and because the Bible (from which Protestants exclude deuterocanonical books such as 2 Maccabees) contains no obvious mention of purgatory, it’s therefore rejected as an unbiblical and thus un-Christian.  There are however variations such as the doctrine of sola fide (by faith alone) which hold that pure faith, apart from any action, is what achieves salvation, and that good deeds are but mere manifestations of that faith so salvation is a discrete event that takes place once for all during one's lifetime, not the result of a transformation of character.  What does seem to complicate that is that most Protestant teaching is that a transformation of character naturally follows the salvation experience; instead of distinguishing between mortal and venial sins, Protestants believe that one's faith dictates one's state of salvation and one's place in the afterlife, those saved by God destined for heaven, those not excluded.  Purgatory is thus impossible.

Divina Commedia, Purgatorio (circa 1478), illuminated manuscript commissioned by Federico da Montefeltro (1422–1482), Vatican Library collection, Rome.  Again, the carring of stones on the first terrace, the style is recognizable in the later schools of mannerism and surrealism.  

Wishing to excise any hint of popery from religion, purgatory was addressed in two of the foundation documents of Anglicanism in the sixteenth century.  Prayers for the departed were deleted in the 1552 revision to the 1549 Book of Common Prayer because they implied a doctrine of purgatory (it was the nineteenth century Anglo-Catholic that saw them restored to some editions) and Article XXII of the the Thirty-Nine Articles of Religion (1571) was most explicit: "The Romish Doctrine concerning Purgatory . . . is a fond thing, vainly invented, and grounded upon no warranty of Scripture, but rather repugnant to the Word of God."  In the twenty-first century, the Anglicans, finding it hard to sit anywhere but on the fence, now say “Purgatory is seldom mentioned in Anglican descriptions or speculations concerning life after death, although many Anglicans believe in a continuing process of growth and development after death.”  The post-modern church writ small; one wonders if the PowerPoint slides of Anglican accountants and Anglican theologians greatly differ.

In Judaism, Gehenna is a place of purification where, according to some traditions, sinners spend up to a year before release.  For some, there are three classes of souls: (1) the righteous who shall at once be written down for the life everlasting, (2) the wicked who shall be damned and (3), those whose virtues and sins counterbalance one another shall go down to Gehenna and float up and down until they rise purified.  Other sects speak only of the good and the bad yet, confusingly, most also mention an intermediate state.  There’s also variance between the traditions regarding the time which purgatory in Gehenna lasts, some saying twelve months and others forty-nine days, both opinions based upon Isaiah 66:23–24: "From one new moon to another and from one Sabbath to another shall all flesh come to worship before Me, and they shall go forth and look upon the carcasses of the men that have transgressed against Me; for their worm shall not die, neither shall their fire be quenched"; the former interpreting the words "from one new moon to another" to signify all the months of a year; the latter interpreting the words "from one Sabbath to another", in accordance with Leviticus 23:15-16, to signify seven weeks.  Whatever the specified duration, there are exceptions made for the souls of the impure which prove resistant to the persuasions of the Gehenna.  According to the Baraita (a Jewish oral law tradition), the souls of the wicked are judged, and after these twelve months are are consumed and transformed into ashes under the feet of the righteous whereas the "great seducers and blasphemers" are to undergo eternal tortures in Gehenna without cessation.  The righteous however and, according to some, also the sinners among the people of Israel for whom Abraham intercedes because they bear the Abrahamic sign of the covenant, are not harmed by the fire of Gehenna even when they are required to pass through the intermediate state of purgatory.

Relief sculpture on a side wall at the Chapel of Souls, (Capilla de Animas) in Compostela, Spain.  These are the souls of the lustful on the seventh terrace, praying for release, which they have been promised will (eventually) be granted by the cleansing flames, something dependent on true repentance.

It was the Florentine poet Dante (Dante Alighieri, circa 1265–1321) who, in the second cantica of the epic poem Divine Comedy (1320) gave the world a vivid depiction of the place he called Purgatorio.  Dante described Purgatory as a mountain which rose on the far side of the world, opposite Jerusalem, with seven terraces, each corresponding to the one of the seven deadly sins, each terrace a place of purification for souls who are penitent and seeking to cleanse themselves of their sins, so to be judged worthy of entering Paradise.  In the valley at the base of the mountain is Ante-Purgatory and here sit the souls of the excommunicated and those who delayed repentance (the so called the “late repentant”) as they await their turn to begin their ascent of the terraces.  Throughout Purgatory, angels and guides assist the souls and Dante's guide is the Roman poet Virgil (symbolizing human reason).  Virgil leads Dante until they reach Earthly Paradise where Beatrice (representing divine wisdom) takes over as the guide to Heaven.

The seven terraces

First Terrace (Pride): Here the souls are humbled by being made to carry heavy stones on their backs, forcing them to bend and contemplate humility.

Second Terrace (Envy): Envious souls are punished by having their eyes sewn shut with twists of iron wire so they may learn to appreciate the beauty of charity and generosity.

Third Terrace (Wrath): Souls of the wrathful Souls enveloped in a thick smoke that blinds them, teaching them to cultivate patience and peace.

Fourth Terrace (Sloth): The slothful are punished by being forced incessantly to run, encouraging diligence and zeal.

Fifth Terrace (Avarice and Prodigality): These souls have to lie face down in the dirt and weep, teaching them to balance their desire for material wealth with the virtues of generosity and moderation.

Sixth Terrace (Gluttony): The gluttonous are starved so extreme hunger and thirst constantly will remind them of the importance of temperance.

Seventh Terrace (Lust): Souls here walk through walls of flames, purging the sin of lust, teaching chastity and love for God.

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

That all sound rather grim but at the mountain’s summit sits the reward: Earthly Paradise (the Garden of Eden).  Here, in this place of peace and beauty, symbolizing the restored innocence and grace, souls are purified completely and ready to ascend to Heaven.  So, the purpose of Dante's Purgatory is less the punishments which must be endured than the possibility of redemption from sin through repentance to purification, leading ultimately to the soul's readiness for Paradise. In this it contrasts with the eternal sufferings which are the fate of those souls condemned to the circles of Hell.

Pressing

Pressing (pronounced pres-ing)

(1) Urgent; demanding immediate attention; Insistent, earnest, or persistent.

(2) Any phonograph record produced in a record-molding press from a master.

(3) To act upon with steadily applied weight or force; to move by weight or force in a certain direction or into a certain position; to weigh heavily upon.

(4) To compress or squeeze, as to alter in shape or size.

(5) To flatten or make smooth, especially by ironing.

(6) To extract juice, sugar, oil etc by applying pressure.

(7) To produce shapes from materials by applying pressure in a mold; a component formed in a press.

(8) To bear heavily, as upon the mind.

(9) A ancient form of torture and execution.

(10) The process of improving the appearance of clothing by improving creases and removing wrinkles with a press or an iron.

(11) A memento preserved by pressing, folding, or drying between the leaves of a flat container, book or folio (usually with a flower, ribbon, letter, or other soft, small keepsake).

1300-1350: From the Middle English presing, from the Classical Latin pressāre, (frequentative of premere (past participle pressus)).  In Medieval Latin pressa was the noun use of feminine pressus, similar to Old French presser (from Late Latin pressāre).  In English, the meaning “exerting pressure" dates from the mid-fourteenth century and sense of "urgent, compelling, forceful" is from 1705.  In the sense of a machine for printing, this spread from the machine itself (1530s) to publishing houses by the 1570s and to publishing generally by 1680.  In French, pressing is a pseudo-Anglicism.

The construct was press + ing.  Press dates from the late twelfth century and was from the Middle English press & presse (throng, trouble, machine for pressing) from the Old French, from presser (to press) from the Latin pressāre, frequentative of premere (past participle pressus) and in Medieval Latin it became pressa (noun use of the feminine of pressus).  The noun press (a crowd, throng, company; crowding and jostling of a throng; a massing together) emerged in the late twelfth century and was from the eleventh century Old French presse (a throng, a crush, a crowd; wine or cheese press), from the Latin pressare.  Although in the Late Old English press existed in the sense of "clothes press", etymologists believe the Middle English word is probably from French.  The general sense of an "instrument or machine by which anything is subjected to pressure" dates from the late fourteenth century and was first used to describe a "device for pressing cloth" before being extended to "devices which squeeze juice from grapes, oil from olives, cider from apples etc".  The sense of "urgency, urgent demands of affairs" emerged in the 1640s.  It subsequently proved adaptable as a technical term in sports, adopted by weightlifting in 1908 while the so-called (full-court press) defense in basketball was first recorded in 1959.  The suffix –ing was from the Middle English -ing, from the Old English –ing & -ung (in the sense of the modern -ing, as a suffix forming nouns from verbs), from the Proto-West Germanic –ingu & -ungu, from the Proto-Germanic –ingō & -ungō. It was cognate with the Saterland Frisian -enge, the West Frisian –ing, the Dutch –ing, The Low German –ing & -ink, the German –ung, the Swedish -ing and the Icelandic –ing; All the cognate forms were used for the same purpose as the English -ing).  Pressing is a noun & verb, pressingness is a noun and pressingly is an adverb; the noun plural is pressings.

Tarpeia Crushed by the Sabines (circa 1520) by Agostino Veneziano (Agostino de' Musi; circa 1490–circa 1540).

In Roman mythology it was said that while Rome was besieged by the Sabine king Titus Tatius, the commander of the Sabine army was approached by Tarpeia, daughter of Spurius Tarpeius, commander of the Roman citadel.  Tarpeia offered the attacking forces a path of entry to the city in exchange for "what they bore on their left arms." Although it was sometimes spun that she actually meant they should cast of their shields and enter in peace, the conventional tale is she wanted their gold bracelets.  The Sabines (sort of) complied, throwing their shields (which they carried upon their left arms) upon her, pressing her until she died.  Her body was then cast from (although some accounts say buried beneath) a steep cliff of the southern summit of the Capitoline Hill which has since been known as the Rupes Tarpeia or Saxum Tarpeium (Tarpeian Rock (Rupe Tarpea in Italian)). 

Cassius Convicted of Political Wrong-Doing is Killed by Being Thrown from the Tarpeian Rock Rome (circa 1750), woodcut by Augustyn Mirys (1700–1790).

The Sabines were however unable to conquer the Rome, its gates miraculously protected by boiling jets of water created by Janus, the legend depicted in 89 BC by the poet Sabinus following the Civil Wars as well as on a silver denarius of the Emperor Augustus circa 20 BC.  Tarpeia would later become a symbol of betrayal and greed in Rome and the cliff from which she was thrown was, during the Roman Republic, the place of execution or the worst criminals: murderers, traitors, perjurors and troublesome slaves, all, upon conviction by the quaestores parricidii (a kind of inquisitorial magistrate) flung to their deaths.  The Rupes Tarpeia stands about 25 m (80 feet) high and was used for executions until the first century AD.

Pressing by elephant.

Under a wide variety of names, pressing was a popular method of torture or execution for over four-thousand years; mostly using rocks and stones but elephants tended to be preferred in south and south-east Asia.  The elephant had great appeal because, large and expensive to run, they could be maintained as a symbol of power and authority and there were few better expressions of a ruler’s authority that the killing of opponents, trouble-makers or the merely tiresome.  Properly handled, an elephant could be trained to torture or kill although, being beasts from the wild, things could go wrong and almost certainly some unfortunate souls ear-marked for nothing but the brief torture of a pressing under the elephant’s foot (for technical reasons, they don’t have hooves) ended up being crushed to death.  Even that presumably added to the intimidation and in some places in India, this means of dispatch was said to be known as Gajamoksha (based on the Gajendra Moksha (The Liberation of Gajendra (the elephant)), an ancient Hindu text in which elephants were prominent) although these stories are now thought to have been a creation of the imaginations of British writers who, in the years before, found a ready audience for fantastical tales from the Orient.  As told, a Gajamoksha seems to have been more a trampling than a pressing and the political significance of the business was it was done in public; the manufacturing of entertainment and spectacle apparently common to just about every regime in human history.  That there were public displays of torture and execution using elephants is part of the historical record but the surviving depictions seem to suggest pressing rather than trampling was the preferred method.  A trampling elephant does sound like something which may have had unintended consequences.

As a asset in the inventory, elephants were versatile and in addition to helping to pull or carry heavy loads to battlefields, they could be also a potent assault weapon and, sometimes outfitted with armor (historically of thick leather), were used in a manner remarkably close in concept to the original deployment of tanks by the British Army in 1916, charging the line, breaking up fortifications and troop formations, allowing the infantry to advance through the gaps.  While opponents being trampled underfoot by a charging elephant may not have been the prime military directive, it was a useful adjunct.  For those who survived, it may only have been a stay of execution and while there’s little to suggest elephants were widely used in the bloodbaths which sometimes followed battlefield defeat, there are records of them ritualistically pressing to death a vanquished foe.

A pressing in progress; presumably this profession attracted those who really enjoyed their work and found it a calling.

It’s a myth Henry VIII (1491–1547; King of England (and Ireland after 1541) 1509-1547) invented pressing but he certainly adopted it as a method of torture with his usual enthusiasm.  Across the channel, under the French civil code, Peine forte et dure (forceful and hard punishment) defined pressing: When a defendant refused to plead, the victim would be subjected to having heavier and heavier stones placed upon his or her chest until a plea was entered, or as the weight of the stones on the chest became too great for the subject to breathe, fatal suffocation would occur.

Enthusiastic about if not innovative in torture, Henry VIII continues to influence modern fashion.  His combination of a loose jacket, short skirt and tights is here reprised by Lindsay Lohan.

Not all Kings of England have been trend-setters but Henry VIII’s style choices exerted an influence not only on his court and high society but also elsewhere in Europe.  What came to be known as the “Tudor style” was really defined by him and the markers are elaborate embellishments, rich fabrics (velvet, silk, and brocade much favoured), intricate embroidery and many decorative details.  The Tudor style also took existing motifs such as the codpiece (the pouch or flap covering the front opening of men's trousers or hose) and in the early sixteenth century these became larger and more exaggerated, the function in formal wear more decorative than practical.  He also made popular (again) the padded shoulders and sleeves which had been seen for centuries but Henry’s innovation was deliberately to reference the lines used on suits of armor, something which added to what in later years was his broad & imposing figure and modern critics have noted this was something which would visually have re-balanced his increasingly portly figure.  London wasn’t than the centre of fashion it later became and some historians have noted the distinctly French influence which entered the court after the arrival of Henry’s first wife, the Spanish-born Catherine of Aragon (1485–1536; Queen of England 1509-1533) and at least some of what was imported with the unfortunate bride became part of the Tudor style.