Mushroom

Mushroom (pronounced muhsh-room)

(1) Any of various fleshy fungi including the toadstools, puffballs, coral fungi, morels etc; any of several edible species, especially of the family Agaricaceae, as Agaricus campestris meadow mushroom, or field mushroom, cultivated for food in many places.

(2) A fungus producing such fruiting bodies.

(3) Anything of similar shape or correspondingly rapid growth.

(4) As ellipsis of “mushroom cloud”, a large, mushroom-shaped cloud of smoke or rubble, formed in the atmosphere as a result of an explosion (or other sudden release of energy), especially a nuclear explosion.

(5) Of, consisting of, or containing mushrooms.

(6) Resembling a mushroom in shape or form; to have or assume the shape of a mushroom.

(7) Of rapid growth and often brief duration (to spread, grow, or develop quickly).

(8) To gather mushrooms (typically as “mushrooming”, practiced by a mushroomer).

(9) As “magic mushroom” (used typically in the plural), any mushroomlike fungus that after ingestion induces psychedelic effects (“shrooms” to users, “psilocybin mushroom” to clinicians in some jurisdictions where prescription is now lawful).

(10) In ballistics (of a bullet), to form the shape of a mushroom when striking a soft target.

(11) In bar billiards, any of the mushroom-shaped pegs.

(12) In architecture, a concrete column with a thickened portion at the top, used to support a slab.

(13) In slang, an individual who rises rapidly from obscurity or poverty (now rare and displaced by “upstart”); the figurative sense of something that grows very quickly or seems to appear suddenly remains in use.

1350–1400: Following the usual conventions in English, it may be expected the construct was mush- + -room but those words wholly are unrelated and the ultimate source is unknown.  Mushroom was an alteration (by folk etymology) of the Middle English muscheron & musseroun, from the eleventh century Middle French mousseron, from the Anglo-Norman musherum & moscheron, from the Old French moisseron, from the Late Latin mussiriōn- (stem of mussiriō).  The Old French word had a murky history and etymologists suspect it was from the Old French mosse & moise (moss (from which modern French gained mousse (on the basis of the first known use being of a type of fungus which grows in moss))), from the Frankish mosu (moss) or the Old Dutch mosa (moss).  The Old French was akin to the Old High German mosa (moor, swamp), the Old High German mos (moss, bog) & mios (moss, mire), the Old English mēos (moss) & mōs (bog, marsh), the Old Norse mosi (moss) & myrr (bog, mire), all from the Proto-Germanic musą, muso & miuziz (mosses, bog), from the primitive Indo- European mews- (mosses, mold, mildew).  It displaced the native Old English swamm.  The clipping shroom is a synonym (most popular with users of magic mushrooms) and the spelling mushrump is long obsolete (the modern spelling more or less standardized by the 1560s).  Mushroom is a noun, adjective & verb, mushroomed is a verb, mushrooming is a noun & verb, mushroomer is a noun, mushroomic, mushroomless, mushroomlike, mushroomoid & mushroomy are adjectives; the noun plural is mushrooms.

Lindsay Lohan's mushroom gravy.

Ingredients

3 tablespoons olive oil or butter
3 cups thinly sliced baby portabella mushrooms or white button mushrooms
½ cup finely chopped onion
1-2 cloves garlic, minced
3 tablespoons all-purpose flour or cup for cup gluten-free flour
3 cups beef broth/stock or vegetable stock
Salt and pepper to taste

Instructions

(1) In a large skillet, heat oil over medium-high heat.  Sautee mushrooms and onions until they are nicely browned (should take around 7 minutes).  Add in garlic and stir until fragrant (about 30 seconds).

(2) Stir in the flour and cook for 1 minute.  Whisk in the broth, remembering to scrape from the bottom of pan all the "browned bits" (the best part).  Reduce to a simmer and simmer until thickened, then remove from heat.  Taste for salt and pepper and season to taste.

The alternative etymology (noting the Ancient Greek μύκης (múkēs) (mushroom) suggests the Old French may be of pre-Roman origin and it remains a matter of debate among etymologists (almost all lexicographers stick to “of uncertain origin”).  What is agreed is the noun “mushroom” was at first applied to almost any of the larger fungi but later to the agaricoid fungi (especially the edible varieties).  The figurative use for something or someone that makes a sudden appearance in full form dates from the 1590s; it was applied especially an upstart person (bounder) or family (those who rose rapidly from a low station in life).  All that was based on the mushroom’s impressively rapid rate of growth and by the 1740s the figurative use substantially has lost the “upstart” sense and came to be used generally of “expanding or increasing rapidly; to rise suddenly in position or rank”.  The famous (or infamous) “mushroom cloud” was first widely described in 1916 (World War I (1914-1918) a time & place of big explosions witnessed by many with cameras) but the OED (Oxford English Dictionary) cites the first use as dating from US in 1902.  It thus long pre-dates the nuclear-age but the phenomenon would for millennia (long before there were explosives) have been observed by those watching volcanic eruptions.  After photographs of the immediate aftermath of the A-bombing of Hiroshima & Nagasaki (August 1945) widely were publicized, the term became popular and spread to many aspects of popular culture including film, art and T-shirts.

Germania, Berlin’s sandy soil and the “mushroom” used to test for sinkage

Germania model, circa 1940.  The scale of the buildings was monumental and Speer was aware of the comparisons with the Rome and Athens of Antiquity, even writing (a not wholly original) “Theory of Ruin Value” arguing the importance of designs that might, thousands of years hence, leave “magnificent ruins”.

Until in the twenty-first century the CCP (Chinese Communist Party) began doing things at a scale once thought unsustainable, the urban-redevelopment plan imagined on a grandest scale was that for Berlin designed by Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945).  What was the be the capital of the Third Reich (and, in the minds of the most delusional of the Nazis: “of the world”) would be renamed Germania and, as Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) told Speer’s wife: “Your husband is going to build buildings for me the likes of which haven't been built for 4,000 years.”  Prone to lies and exaggeration, this was one of the occasions the Führer was being truthful and although there was little the plans for Germania that was original, what was impressive was the scale, Speer taking reference points from architectural history (the Pantheon in Rome, the Arc de Triomphe in Paris) and making the German versions bigger.  Although at the time much taken with what he called the regime’s “Empire style”, in his (sometimes reliable) post-war memoirs (Erinnerungen (Memories or Reminiscences) and published in English as Inside the Third Reich (1969)) he admitted the stylistic failure, above all because the architecture wholly was disconnected from the human scale.

The mushroom, Speer's improbable architectural legacy.

Of all that Speer planned for Hitler's megalomaniacal vision of Germania, only small fragments remain but the strangest and largest relic is the Schwerbelastungskörper (heavy load-bearing body) a concrete structure 30 metres (100 feet) tall and weighing 12,650 tons (11,476 tonnes); locals nicknamed it der Pilz (the mushroom).  Located on the city’s southern edge (near modern day Südkreuz station), the giant concrete cylinder was in 1941 erected to test the suitability of Berlin’s sandy soil, something of great significance because most of Germania’s large, representational buildings would be constructed from granite, concrete & steel; although structural engineers could solve the challenges the architects designs presented, the only way to be certain the soil could handle such weight was to conduct a practical, real-time, full-size experiment.  While the data were required for much of what was planned, of particular interest was intended landmark of the Victory Arch which, at 117 metres (384 feet) tall and 170 metres (558 feet) wide would obviously exert much pressure and, having the foundations sinking into the sandy soil was less than ideal.  With a footprint of exactly 100 m³, Speer’s giant, reinforced concrete “mushroom” was placed in a way that would as closely as possible emulate the forces involved; it sat 18 metres (60 feet) deep with the above-ground extending 14 metres (46 feet) high while inside there were a number of measuring devices recording movement.  As things transpired the instruments recorded sinking between 110-180 mm (4.3-7.1 inches) across the six measuring points and that was well beyond the 60 mm (2.4 inches) deemed by Speer as the upper limit of acceptability.  Whether the findings would have compelled a change to the arch or indeed any of Germania’s other gargantuan designs will never be known because, as the tide of war turned, the resources devoted to the project were re-allocated to more urgent tasks and by 1943 Speer, by then also minister of armaments and war production, quietly shut-down the Germania planning office.  So little was built and less survived but the “mushroom” remained and is now a tourist attraction and a site visited by many organized tours.

The mushroom cloud

Tsar Bomba, the largest ever nuclear test, detonated by the Soviet Union in October 1961.

As the photographs suggest, the mushroom clouds generated by large volcanic eruptions and the detonation of nuclear weapons can look similar because the same atmospheric physics are operating despite the underlying energy-release mechanisms being completely different and, counterintuitively, there is no precise TNT (abbreviation of trinitrotoluene (an explosive substance used in blasting)) equivalent threshold above which every explosion produces a mushroom cloud. A mushroom cloud is principally a consequence of buoyancy and atmospheric fluid dynamics, rather than merely a product of energy released, thus the phenomenon can occur with nuclear explosions, large conventional explosions, volcanic eruptions and even especially intense fires.  What an explosion does is produce a very hot, rapidly expanding mass of gas and entrained material and this rises because the air above has less resistance than the ground below; it rises because it has acquired enormous upward momentum and, as it rises, it entrains surrounding air.  The most important mechanism in the ultimate generation of a mushroom cloud’s distinctive shape is a phenomenon plasma physicists call “thermal buoyancy”.

Physics of a mushroom cloud (left), the fluid dynamics an interplay of energy, matter & air temperature and a mushroom cloud T-shirt (right), the images used sometimes for political messaging and sometimes just for dramatic effect. 

Fernando Famiani's photograph of the eruption of Mt Etna, Sicily, Italy, December 2015, shot from the outskirts of the village of San Teodora.

Familiar from many conditions in climate science, as hot material rises, the heated gas being less dense than the surrounding atmosphere, the rising plume entrains cooler air, increasing its volume while reducing its average temperature, a process that continues until its density approaches that of the surrounding atmosphere at which point, the rising material spreads laterally, producing the mushroom cloud’s characteristic “cap”, the outer regions circulating downwards, maintain the shape of the stem.  There are scaling relationships between explosion energy and the size, height and evolution of the resulting plume and consequently, as a general principle, as explosions become larger, a mushroom cloud becomes increasingly likely under appropriate atmospheric conditions.  So the mushroom cloud is a product of the environment; the same release of energy in different conditions (an explosion deep underground; a large underwater explosion; an explosion in a confined structure; energy released over a sufficiently long period rather than instantaneously) will tend not to create one whereas a relatively modest release of energy can produce one if the geometry and atmospheric conditions are favourable.  So, a mushroom cloud is a thing not of yield but of atmospheric conditions.

Death cap mushrooms.

In 2023, Australian mother of two Erin Patterson (b 1974) murdered three of her relatives and nearly killed a fourth by preparing for them a lunch of Beef Wellingtons laced with highly toxic death cap mushrooms.  Amanita phalloides (the more evocative “death cap” the common name) is a basidiomycete fungus and mushroom (one of many in the genus Amanita) and although originally from Europe, it has spread around the planet as have many species (zoological & botanical) in the age of mass-movement of people and goods.  Dangerously, the death cap closely resembles a number of (variously bland and delicious) edible mushrooms used in many dishes so mushroomers must take care when mushrooming (harvesting wild mushrooms).  They’re the most poisonous of all known mushrooms and a single example contains enough toxin to kill an adult human; unsurprisingly, death caps are estimated to be responsible for as many as 90% of the annual death-toll from eating toxic mushrooms.  Quite what is the extent of the annual loss of life is uncertain because in rural parts of Asia (where foraged mushrooms are common in diets) the statistics are not reliable but it’s believed the numbers bounce-around between 100-300.  The principal toxic constituent (hardly affected by cooking or freezing) is α-Amanitin which causes liver and kidney failure.

Erin Patterson, prior to charges being laid.

It was severe liver failure that was the cause of the death of Erin Patterson’s three victims, all of whom died within a week of falling ill (despite one receiving a liver transplant); the sole survivor recovered after several weeks of treatment.  The trial was conducted before a jury that delivered a guilty verdict on all three charges and the judge handed down a sentence of life imprisonment with a non-parole period of 33 years; there was immense international interest in the case and it was the first sentencing hearing in the state of Victoria to be live-streamed.  In what was anyway a macabre tale, one interesting aspect was the way Erin Patterson chose to learn about the nature of the death cap; some will have drawn the conclusion: “When researching murder-methods, don’t use one’s own digital devices.”  The case currently is on appeal, the defense seeking a retrial on several procedural and technical grounds while the state is arguing the sentence was “manifestly inadequate” and there should be no possibility of parole.  On X (formerly known as Twitter), some were even more unforgiving, suggesting: “She should get the chair.”

Cryptic crochet: Erin Patterson crocheted a rat as a gift for her defense counsel.  According to press reports, it was an expression of “thanks” but a crocheted mushroom would have been a nice touch.

In her cell, “mushroom lady” (the public's choice of dub upon the case being publicized) is said to pass the hours crocheting, an intricate, time-consuming business but for those serving long prison sentences, time is relative in a way different to that made famous by Albert Einstein (1879-1955) and for the seven Nazis incarcerated in Spandau prison after the first Nuremberg Trial (1945-1946), “time” often came up in their sometimes awkward conversations.  Grand Admiral Erich Raeder (1876–1960; head of the German Navy 1928-1943) served as prison librarian and, responding to a complaint from one of his fellow inmates that his handing out the four permitted (and by 1954 uncensored) newspapers (one selected by each of the powers administering the prison (France (Kurier), the UK (Frankfurter Allgemeine Zeitung), US (Die Welt) & USSR (Berliner Zeitung)) bound in one folder meant “It will take too long for one person to read all four newspapers”, answered “That doesn't matter. You've got plenty of time, after all.”  Despite that uncompromising start, within two days the admiral relented, averting the threat of mutiny by distributing the papers singularly.

According to Australian neuroscientist Dr Sarah McKay, knitting and crochet can be “deceptively good” for the brain, being an “ideal mix of repetition plus cognitive challenge”, helping individuals regulate their mood and attention span.  She explained the mechanism by pointing out in crocheting: “You have to remember where you're up to, you have to problem solve, you have to make decisions, you're constantly challenging yourself if you're doing more and more complicated patterns but, at the same time, it's challenging but it's low stakes… which I think might be one of the best kinds [of cognitive challenge] we can have.  We're mastering a skill, we're getting better at that and we're kind of just doing the task for the sake of doing the task … it's quite a simple form of mastery and there's something really soothing and good for our mood about that.”  Intriguingly, Dr McKay now has one potential subject available for what would be a unique, longitudinal study: mushroom lady sitting for 33 years in solitary confinement, crocheting stuff.  Such parameters would of course never be approved by any university ethics committee so for researchers interested how such things affect a brain operating in a most unusual environment, there are possibilities. 

Ozempic: The famous “fat jab”.  Now on GLP-1 fat jabs, hopefully the prison authorities will permit mushroom lady (once slender) to create content and open an OnlyFans page with proceeds going to the families of her victims.  There would be a viewership for such content, some of whom would seek contact.

One unexpected coda to the trial was the announcement mushroom lady has been granted access to taxpayer-funded Ozempic (a GLP-1 (glucagon-like peptide-1) appetite suppressant), the official explanation being her inability to pursue an exercise regime while in solitary confinement; because of the nature of her offences, it's expected she'll remain in solitary confinement for the foreseeable future (33 years presumably within the vista of “foreseeable”).  Unfortunately, her previous exercise techniques were not disclosed, something that would have been of interest to many pursuing weight-loss.  Doubtlessly anticipating some public outrage at the thought taxpayers would be footing the bill for mushroom lady to get free “fat jabs”, a spokesperson for Victoria’s Department of Justice issued a statement confirming weight loss drugs were just another medicine and would be provided to prisoners based on a clinician's advice: “Prescriptions are only given by clinicians when there’s a clear medical need - like preventing serious conditions such as type 2 diabetes.  Access to prescribed weight loss medication was introduced in response to recommendations from the Coroner following a death in custody linked to obesity.”  The convicted mass-murderer had told the court she “had a problem” with body image and binge-eating, a perhaps unnecessary confirmation given some of the photographs circulated by the media.

Peculiar

Peculiar (pronounced pi-kyool-yer)

(1) Something thought strange, queer, odd, eccentric, bizarre.

(2) Something uncommon or unusual.

(3) Distinctive in nature or character from others.

(4) Belonging characteristically to something.

(5) Belonging exclusively to some person, group, or thing.

(6) In astronomy, designating a star or galaxy with special properties that deviates from others of its spectral type or galaxy class.

(7) A property or privilege belonging exclusively or characteristically to a person.

(8) In the Church of England, a particular parish or church that is exempted from the jurisdiction of the ordinary or bishop in whose diocese it lies and is governed by another.

(9) In printing and typesetting, special characters not generally included in standard type fonts, as phonetic symbols, mathematical symbols etc (such as ±§¿).  Also called arbitraries.

1400-1450: From the late Middle English, from the Old French peculiaire and directly from the Latin pecūliāris (as one's own property), from pecūlium (private property (literally "property in cattle") a derivative of pecū (flock, farm animals) from pecus (cattle) (in Antiquity, the ownership of cattle was an important form of wealth).  The meaning “unusual” dates from circa 1600, a development of the earlier idiom “distinguished or special”.  The meaning "unusual, uncommon; odd" emerged by circa 1600, an evolution from the earlier "distinguished, special, particular, select" which was in use by at least the 1580s.  The euphemistic phrase "peculiar institution" (slavery; "peculiar" used here in the sense of "exclusive to the "slave states") dates from the 1830s when it was used in speeches by Southern politician John C Calhoun (1782-1850) and it was a standard part of the US political lexicon until abolition.  In ecclesiastical administration, peculiar was used in the sense of "distinct from the auspices of the diocese in which it's located".  Peculiar is a noun & adjective, peculiarize is a verb, peculiarity is a noun and peculiarly is an adverb; the noun plural is peculiars.

Photographers will use the natural environment to produce peculiar effects which can be striking: This is Lindsay Lohan straked by sunlight & shadow from a photo session by Ellen Von Unwerth (b 1954) for Vogue Italia, August 2010.  The caption “Ho fatto terribili sbagli dai quali però ho imparato molto.  Probabilmente per questo sono ancora viva” translates from the Italian as “I've made terrible mistakes, but I've learned a lot from them.  That's probably why I'm still alive.”

In the Church of England, a peculiar is an ecclesiastical district, parish, chapel or church which operates outside the jurisdiction of the bishop and archdeacon of the diocese in which they are situated. Most are Royal Peculiars subject to the direct jurisdiction of the monarch but some are those under another archbishop, bishop or dean.  The arrangement originated in Anglo-Saxon times and developed as a result of the relationship between the Norman and Plantagenet Kings and the English Church. King Henry VIII (1491–1547; King of England (and Ireland after 1541) 1509-1547) retained Royal Peculiars following the Reformation and the Ecclesiastical Licences Act (1533), as confirmed by the Act of Supremacy (1559), transferred to the sovereign the jurisdiction which previously been exercised by the pope.  Surprisingly, most peculiars survived the Reformation but, with the exception of Royal Peculiars, almost all were abolished during the nineteenth century by various acts of parliament.  Mostly harmless among Anglicans, the concept existed also in the Roman-Catholic Church where it caused a few difficulties, usually because of bolshie nuns in convents answerable to Rome and not the local bishop.  The bishops, used to obedience, even if grudging, enjoyed this not at all.

One archaic-sounding peculiarity in the sometimes intersecting world of geopolitics and diplomatic conventions is that on the Chrysanthemum Throne sits an emperor yet there is no Japanese empire.  Actually, despite the institution having a history stretching back millennia, no empires remain extant and some of the more recent (such as the Central African Empire (1976-1979)) have been dubious constructions.  Despite that, the Japanese head of state remains an emperor which seems strange but the reasons the title has endured are historical, linguistic & diplomatic.  The Japanese sovereign’s native title is 天皇 (Tennō (literally “Heavenly Sovereign” and best understood in the oft-used twentieth century phrase “Son of Heaven”).  When, in the mid 1800s, the Western powers first began their engagement with Japan, the diplomatic protocol specialists soon worked out there was in their languages no exact term which exactly encapsulated Tennō and because “king” historically was lower in status than “emperor”, that couldn’t be used because, the Japanese court regarding itself as equal to (in reality probably “superior to”) the ruling house in China, it would have implied a loss of face.  So, on the basis of the precedent of the Chinese 皇帝 (huángdì (Emperor), Tennō entered English (and other European languages) translated as “emperor”.  This solved most potential problems by placing the Japanese sovereign on the same level as the Chinese Emperor & Russian Tsar.

Cars of the Chrysanthemum Throne: Emperor Akihito (b 1933; Emperor of Japan 1989-2019) waving while leaving Tokyo's Imperial Palace in 2006 Toyota Century (left) and the 2019 Toyota Century four-door parade cabriolet (right).  Although in the West, Toyota in 1989 created the Lexus brand for the upper middle class (and hopefully above), the royal household has for years been supplied with Toyotas, some of them with bespoke coachwork and interior appointments although mechanical components come from the Toyota/Lexus parts bin.  The four-door cabriolet replaced a 1990 Rolls-Royce Corniche DHC (drophead coupé) which, having only two doors made less easy an elegant ingress or egress.

As things turned out, the linguistic pragmatism turned out to be predictive because during the Meiji period (1868-1912), Japan emerged as a modern imperial power, with colonies in Taiwan, Korea and other places.  After World War II (1939-1945), the empire was dissolved but the imperial institution was retained, a fudge the Allied powers tacitly had conceded as an alternative to insisting on the “unconditional surrender” the Potsdam Declaration (26 July, 1945) had demanded.  Tennō thus remained the head of state’s title and in English it has continued to be rendered as “Emperor”, a nod more to historical continuity than diplomatic courtesy.  In a practical sense, this represented no obvious challenge because being styled “The Emperor” was geographically vague, unlike the king in the UK who obviously ceased to be called “Emperor of India” after the Raj was dissolved with the granting of Indian independence in 1947.  The peculiar anomaly of an emperor without an empire remains peculiar to Japan.

Peculiar has a range of meanings.  One is the sense of something “uniquely peculiar to” meaning an attribute or something else shared with no other and sometimes things one thought peculiar to one thing or another are proved not so unique.  Saturn’s lovely rings were once thought peculiar to that planet but exploration and advances in observational technology meant that by the late twentieth century it could be revealed Jupiter, Uranus & Neptune all had ring systems, albeit more modest than those of Saturn but they were there.  Non-realistic art has often for its impact depended on a depiction of the peculiar: blue trees, flying dogs and green people once all enough to shock.  This too can change.  Once, a painting of a black swan would have seemed peculiar because, as the Roman saying went rara avis in terris nigroque simillima cygno (a bird as rare upon the earth as a black swan).  The accepted fact was that all swans were white.  However, late in the seventeenth century, Dutch explorers visiting what is now the coast of Western Australia became the first Europeans to see black swans and event subsequently picked up in philosophy as the “black swan moment”, referencing the implications of an accepted orthodoxy of impossibility being disproven, later developed into the “black swan logical fallacy” which became a term used when identifying falsification.

However, the two meanings can co-exist in the one sentence such as: (1) “Fortunately, the most peculiar of the styling motifs Plymouth used on the 1961 range remained peculiar to that single season” or (2) “On the basis of comments from experts in the linguistics community, Lindsay Lohan's peculiar new accent seems peculiar to her.”  In each case the first instance was used in the sense of “strange or weird” while the second suggested “uniqueness”.  Because in sentence construction, unless done for deliberate effect, there's some reluctance to repeat what may be called “noticeable words” (ie those which “stick out” because they’re rare or in some way unusual), writers can be tempted by the sin of what Henry Fowler (1858–1933) in his A Dictionary of Modern English Usage (1926) called “elegant variation”.  Although willing to concede inelegance had its place as a literary or dramatic device (rather as a soprano with a lovely voice sometimes has to sing an aria which demands she sounds “ugly”), Henry Fowler preferred all sentences to be elegant.  Elegance however was a product and not a process, and he cautioned “young writers” (those older presumably written off as beyond redemption) against following what had become established as a “misleading rules of thumb”: Never to use the same word twice in a sentence or within 20 lines or other limit.”  His view was that if unavoidable, repetition, elegantly done was preferable to the obviously contrived used of synonyms such as (1) monarch, king, sovereign, ruler or (2) women, ladies, females, the variants there just to comply with a non-existent rule.  Predictably, the law was singled out as repeat offender, the use of “suits, actions & cases appearing in the one sentence to describe the same thing pointlessly clumsy in what was merely a list in which a repeated use of “cases” would had added clarity although that quality is not one always valued by lawyers.   

Peculiar in the sense of something bizarre: 1961 Plymouth Fury Convertible.  It must have seemed a good idea at the time and never has there been anything to suggest the stylists were under the influence of stimulants stronger than caffeine or nicotine.

Sometimes something thought peculiar can be described as “funny-peculiar” to distinguish it from something disturbing: peculiarities can be thought of as perversions.  In 1906, an embittered and vengeful Friedrich von Holstein (1837–1909; between 1876-1906, an éminence grise in the foreign office of the German Empire) sent a letter to the diplomat Prince “Phili” Phillip of Eulenburg (1847–1921), the man he blamed for ending of his long and influential career:

“My dear Phili – you needn’t take this beginning as a compliment since nowadays to call a man ‘Phili” means – well, nothing very flattering… I am now free to handle you as one handles such a contemptible person with your peculiarities.”

From this incendiary note ensued a series of legal proceedings exploring the allegations of “unnatural conduct” (homosexual activity) levelled against Prince Phillip, proceedings which involved a roll-call of characters, many with motives which went beyond their strict legal duty and a few with their own agendas.  The matter of Phili’s “peculiarities” was of real political (and potentially constitutional) significance, not merely because homosexuality was punishable under the criminal code (although the statute was rarely enforced) but because the prince had for decades been the closest friend of the German Emperor, Kaiser Wilhelm II (1859–1941; German Emperor & King of Prussia 1888-1918).  To this day, the exact nature of the relationship between the two remains uncertain.

Violin

Violin (pronounced vahy-uh-lin)

(1) The treble instrument of the family of modern bowed instruments, built as a small unfretted instrument with four strings tuned (lowest to highest) G-D-A-E and held nearly horizontal by the player's arm against the chin, with the lower part supported against the collarbone or shoulder; it’s played with a bow.

(2) In musical performance, metonymically, the position of a violinist in an orchestra, string quartet or other formation or group (sometimes as first violin, second violin etc).

(3) In musical composition, a part to be played on a violin.

(4) Any instrument of the violin family, always inclusive of violins, violas, and cellos and sometimes further including the double bass (used by certain musical specialists but a use derided by most).

(5) To play on, or as if on, a violin (rare except in technical use),

1570–1580: From the Italian violino (a little viola), the construct being viol(a) (from the Italian viola, from the Provençal and of uncertain origin but there may be some link with the Latin vītulārī (to rejoice)) + -ino (the suffix used to form diminutives).  The sixteenth century word described the modern form of the smaller, medieval viola da braccio.  The violin and viola share similarities in terms of construction and playing technique but a violin is smaller.  A full-size violin has a body length around 14 inches (360 mm) while a viola typically extends to around 16 inches (405 mm) and the larger instrument tends to have a lower pitch range and different tonal qualities.  The violin is noted for a high pitch range (G-D-A-E low to high) while a viola is tuned to C-G-D-A, a perfect fifth lower which lends it a deeper, mellower sound.  In an orchestra, the violin usually plays the melody (the highest voice in the string section) and thus many solo pieces are written which attract the most virtuosic players.  Viola pieces are usually supportive , providing harmony, inner voices, or countermelodies although it does have its own solo repertoire.  Violin is a noun & verb, violinist is a noun and violining & violined are verbs; the noun plural is violins.

The Duce with violin.

As well as professionals, the violin has long attracted also those who enjoy music as a hobby, Charlie Chaplin (1889–1977), Marlene Dietrich (1901-1992), Albert Einstein (1879-1955) & Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) were all keen players and leader of the US Nation of Islam (NOI), Louis Farrakhan (b 1933), in 1993 even performed Felix Mendelssohn's (1809-1847) Violin Concerto in E Minor.  His skill aside (and the reviews were warm enough), the choice of a piece by Mendelssohn was interesting because of Mr Farrakhan's history of anti-Semitic rhetoric but even in that the interpretations of motive varied because although of Jewish ancestry, the composer was baptized and raised a Christian and while in recent years some scholars have made the case for the sincerity of his Christianity, others maintain that for most of his life he displayed an unalloyed reverence for his Jewish roots.  While the persistent legend is that Roman Emperor Nero (37-68) "fiddled while Rome burned" in 64 AD it probably isn't true; even if he "fiddled away" on some instrument, it wouldn't have been a fiddle because that device was 15 centuries away.  If he played anything mid-inferno it was probably a lute but historians think the phrase was intended to mean something like "twiddled his thumbs", suggesting he was negligently inactive or inept in his handling of the disaster.  Even this is now thought by many historians to be the fake news of its day, spread by his political enemies (of which justly he had many).

Lindsay Lohan backstage with guitarist Michael Isbell (b 1979) & fiddle player Amanda Shires (b 1982) at the Dylan Fest concert, Bowery Ballroom, New York City, November 2013.

The distinction between the violin and the fiddle is less about the actual instruments than the use to which they’re put although both words are replete with cultural baggage.  What is essentially the same instrument is thought a violin when playing from the classical canon and a fiddle if performing folk or country & western (C&W) music.  Of course there are many genres apart from these and when the instrument is used in other settings (jazz, pop etc), the use is up to the individual, influenced either by their own preference or some sense of adherence to the conventions describing whatever is being performed.  The fiddle (as a stringed musical instrument) has a long history and is a feature of much Medieval art depicting performances of folk music.  It was from the late fourteenth century Middle English fedele, fydyll & fidel, from the eleventh century fithele, from the Old English fiðele (fiddle) which was related to the Old Norse fiðla, the Middle Dutch vedele, the Dutch vedel, the Old High German fidula and the German Fiedel, all of which are of uncertain origin.  There’s never been anything to suggest there’s anything onomatopoeic in the origin and the most cited theory (based on resemblance in sound and sense) is there’ may be some connection to the Medieval Latin vitula (stringed instrument (source of Old French viole and the Italian viola), which may be related to the Latin vitularia (celebrate joyfully), from Vitula, the Roman goddess of joy and victory, thought to have been drawn from the Sabines.  That however remains speculative and it’s not impossible the Medieval Latin word was derived from one of the Germanic forms.

The Dallas-based Quebe Sisters (siblings Grace, Sophia & Hulda) are a triple fiddle trio who play what is described as "neo-traditionalist western swing".

Despite the snobbery of some, those who enjoy C&W music are not culturally inferior; it’s just a different form of sophistication.  In certain circles however there is a dismissive contemptuousness of “fiddle songs” and the fiddle’s reputation has suffered by association, relegated to colloquial use by the respectable violin, a process doubtlessly hastened and encouraged by phrases such as "fiddlesticks" (from the 1620s meaning “untrue; absurd”), "fiddle-de-dee" (from 1784 and a nonsense word in the sense of “contemptuously silly”) and "fiddle-faddle" (a mid-nineteenth century coining to convey the idea of “a statement worthy only of ridicule; blatantly untrue”).  The outlier of course is "fit as a fiddle" (robust; in rude good health), noted since the 1610s and apparently unrelated to music or the instrument, it being probably one of those English sayings which caught on because of the alliterative appeal and there are etymologists who suspect the original form was “fit as a fiddler” but the familiar version prevailed because it more easily rolled from the tongue.

The Kreutzer Sonata (1901), oil on canvas by René François Xavier Prinet (1861-1946).

The Kreutzer Sonata was inspired by Leo Tolstoy’s (1828-1910) novella of the same title (1889), which was named after Ludwig van Beethoven’s (circa 1770–1827) Violin Sonata No 9, Opus 47 (1803), a violin and piano composition dedicated to the French violinist & conductor Rodolphe Kreutzer (1766-1831).  Kreutzer never performed the piece but whether this was related to him being the “second choice” is unknown.  Beethoven originally dedicated the sonata to another violinist who first performed it but the two had a squabble about something and the bad-tempered composer instead conferred the honor on Kreutzer.  The work is a favorite among violinists because it can convey an emotional range from anger and despair to joy and in this vein, Tolstoy’s tale is one of a woman murdered by her husband because of his suspicion of her infidelity with a violinist.  In Moscow, the Tsar’s censor (a busy, full-time job) for a time banned the book because of concerns it might “stir the emotions”.

Viola is a genus of flowering plants in the violet family Violaceae.

The sonata certainly stirred something in Tolstoy who said he was “shocked at the eroticism” when it was performed by a man & woman and he wasn’t the only one affected by the instrument, both the Italian composer and violinist of the Baroque period Giuseppe Tartini (1692–1770) and Russian composer Igor Stravinsky (1882-1971) referred to the violin as “the devil’s instrument”.  Tolstoy depicted the violin as something so evil in the eroticism it could summon it could drive a man to murder and infamously there was a violinist who murdered on a grand scale.  The roll-call of evil-doers among the Nazi hierarchy was long and it’s morally dubious to suggest which were worse than others but probably all agree Schutzstaffel (SS) Obergruppenführer (an SS rank then equivalent to an army general) Reinhard Heydrich (1904–1942; head of the Reichssicherheitshauptamt (Reich Main Security Office (including the Gestapo, Kripo, and SD 1939-1942)) was as repellently awful as any.  He was though a genuinely gifted musician and could have pursued a musical career; it was said when he played the violin, grown men could be reduced to tears.  Heydrich died before he could be tried for his crimes but such was the infamy his name remains a byword for evil, however contested that word; like Mussolini, Heydrich is an example of how a skill to make beautiful art is no guarantee of fine character.

Kiki in Le Violon d'Ingres (1924).

Shot in Paris in 1924 by US visual artist Man Ray (Emmanuel Radnitzky 1890-1976), Le Violon d'Ingres is one of the enduring images of surrealist photography.  The model was Kiki de Montparnasse (“Kiki of Montparnasse”: Alice Prin; 1901–1953) and the title was a play on words, the French phrase “le violon d'Ingres” meaning something like “Ingres's cherished hobby” and mademoiselle Kiki the photographer’s muse and lover (a tempestuous relationship). The title was a bit of an in-joke, a reference to the habit of neoclassical painter Jean-Auguste-Dominique Ingres (1780–1867) insisting on playing the violin to visitors who visited his studio anxious to view the paintings.  Man Ray's photograph references one of the artist’s most admired works, La Grande Baigneuse (The Valpinçon Bather) which focuses also on the female back.  Obviously, Man Ray worked in the pre-digital world when images were committed to celluloid but his post-production editing technique used layers in a way analogous with Photoshop and other image handlers: Wanting to explore the similarity in shape between the body of a violin and the pleasing torso of his model, he first printed a copy onto which he painted the f-holes of a violin, then photographed the modified image.  That became the famous work and in June 2022 it went under the hammer for US$12.4 million at Christie's New York, making it the most expensive photograph ever sold at auction.

Kiki in a French postcard, circa 1920.

Mademoiselle Kiki was from the provinces and came to nude modelling in Paris only after a succession of dreary jobs, the last in a bakery from which she was fired by the baker’s wife for punching her in the face after being called a whore for wearing eye make-up.  Man Ray “discovered her by accident” (historians seem never to have gone into the details) and she found nude modelling both a pleasant occupation and more lucrative than the hard work of being a baker’s assistant but that view wasn’t shared by her mother who, tipped off by a neighbor, burst into the photographer’s studio and make it clear she agreed with baker’s wife, banning her from the apartment they shared.  The affair with Man Ray was thus immediately convenient but their feelings seem genuinely to have been sincere although it did end badly; at one point he was seen chasing her down the street, revolver in hand.

Model Adriana Fenice (b 1995) with viola and horsehair bow.

Modelling "in the buff" was at the time frowned upon by the more respectable of those engaged by Parisian fashion houses, something which endures to this day.  Even in 1946, the inventor of the bikini (not a new style but his cut was daringly minimalist and according to him inspired by his observation on a beach at St Tropez of young ladies "rolling up their bathing suits to get a better tan") couldn’t find a model on the books of the agencies willing to be photographed in such a thing so he hired a nude model; for her it was more fabric than usual.  The disapprobation of the middle-class towards non-conforming women persists and manifests in different cultures at different levels.  In India, nude modelling definitely is out but mothers will also tar occupations such as prostitute, flight attendant and call-centre worker with the same brush of un-virtue, apparently because they all sometimes work during the hours of darkness when respectable girls are in the home, cooking & cleaning.

Nicola Benedetti CBE (b 1987) with her "Earl Spencer" Stradivarius.

Violinist (one who plays the violin) dates from the 1660s and was an un-adapted borrowing from the Italian.  A violinist is thus a musician and not a “violin maker”: those practicing that profession are properly called luthiers.  A luthier is a skilled craftsperson who specializes in the construction, repair, and restoration of stringed instruments, particularly violins and the range of skills needed is wide because the artisan needs to select different types of wood to be cut & carved before being assembled and varnished, all processes which ultimately determine the instrument’s tone and aesthetic qualities.  In the traditional way of making violins, there is both artistry and craftsmanship.  Luthier has no connection with “Lucifer” (and there’s thus no link with the notion of the “devil’s instrument”).  Luthier was from the French luth (lute), a stringed instrument of great antiquity that was wildly popular during the medieval era and the Renaissance periods and the luthier's craft once focused predominately on the construction and repair of lutes.  As the lute faded from use and the violin gained prominence, luthiers adapted and changed, becoming specialists in the violin making, some branching out to include other stringed instruments such as violas, cellos, and guitars.  The French luth was from leutier, from the Latin luteum (yellow or yellowish), thought to refer to the honey-colored wood most suited to musical instruments.

Yehudi Menuhin on stage, 1943.

Still the most famous of the luthiers is Antonio Stradivari (1644-1737) whose workshop was in the norther Italian town of Cremona.  His violins, of which there were thousands, may or may not have been the product of his own hands because he had sons and pupils in his business but the survivors were anyway by the 1990s were selling for millions.  The familiar "Stradivarius" is the anglicized form and although some “blind tests” have suggested even experts can’t tell the difference in the sound from a genuine “Strad” and a good quality modern violin, they have become a collectable and now sell for even more millions.  The acclaimed virtuoso Yehudi Menuhin (1916–1999) for decades played on one of the rare Soil Stradivarius, crafted in 1714 during the luthier’s “golden period”.  During World War II (1939-1945), Menuhin sometimes played concerts to entertain troops and once found out that due to an army SNAFU, his waiting audience was expecting an attractive young lady to sing for them.  Undeterred, he walked on stage, telling the soldiers: “You won’t enjoy this, but it’s good for you”, proceeding to play Handel’s Violin Sonata No. 3.  It was well received.

The Joachim-Ma Stradivarius.

In February 2025 a Stradivarius violin, authenticated as having been crafted in 1714, sold at a Sotheby’s of Manhattan auction in New York for $11.25 million which disappointed some who had expected a new record for the instrument.  The 311-year-old artefact was known in the trade as the “Joachim-Ma Stradivarius”, a reference to one-time owners Hungarian violinist, conductor & composer Joseph Joachim (1831–1907 (who had been a friend of the German composer, pianist & conductor Johannes Brahms (1833–1897)) and violinist Ma Si Hon (1925-2009); in 2015 it had been donated to the New England Conservatory (NEC) with the proviso it would one day be sold to fund musical scholarships for youth.  That it didn’t set a new mark may be because, like many collectables, there is the power of celebrity association.

The Lady Blunt Stradivarius in case.

The 1721 “Lady Blunt Stradivarius” which in 2011 passed under the hammer for US$15.9 million had been named for Lord Byron’s (1788–1824) granddaughter (Anne Blunt (1837-1917); Baroness Wentworth but styled usually as Lady Anne Blunt) and in artistic circles there’s quite an allure to Byron (emos and others also affected).  That said, the mid-decade downturn in other collector markets does suggest macro-economic conditions may have been a factor in the 2025 auction, especially if recent inflation and the massive increase in the money supply since 2011 are considered.  However, the official record for US$15.9 million may not be the highest paid because, something like the Ferrari 250 GTOs, Stradivarii do change hands in unpublicized private sales (the so-called “off-market” transactions) and there are (unverified) tales of sales in excess of US$20 million.  Many analysts are sceptical about the notion of US$20 million violins because the price achieved for the Lady Blunt (though one of the finest Stradivarii known to exist, almost unflawed and still with its presentation case by W.E. Hill & Sons of London) was in a charity auction conducted for the benefit of the Nippon Foundation's relief fund for victims of the 2011 Tōhoku earthquake and tsunami.

Yehudi Menuhin playing the Lady Blunt, Sotheby's, London, 1971.

In a long career 75 years, Menuhin played a number of famous violins including the Lord Wilton Guarnerius (1742), the Giovanni Bussetto (1680), the Giovanni Grancino (1695), the Guarneri filius Andrea (1703), the Soil Stradivarius (1714), the Prince Khevenhüller Stradivari (1733) and the Guarneri del Gesù (1739).  Unlike racing car drivers who in their memoirs usually list the best (and, often more expansively, the worst) machines they handled, in neither of his volumes of autobiography (Unfinished Journey (1977) and Unfinished Journey: Twenty Years Later (1997)) he didn’t rate them although the one he played for almost four decades was the Soil Stradivarius, purchased in 1950.

Violin and Viola

Of the four instruments in the bowed string family (violin, viola, cello & double bass) it’s the larger and latter two which easily are distinguished, the double bass so big that when seeing a musician with their instrument, it will never be confused with a cello.  However, the violin & viola not only look similar but are much closer in size and unless seen side-by-side, it takes a trained eye to tell them apart.  The viola is the second highest-pitched instrument of the family and compositions in both orchestral and chamber music are so often written with it filling harmonies because it can be the bridge between the low-pitched cello and high-pitched melodies of the violin. There were solo compositions for the viola in the Baroque and Classical epochs but the instrument became unfashionable before the modern era when it was “re-discovered” and in recent decades, more have been written.  For those who want to stick to the classics and hear duets for violin & viola, there's Mozart (Wolfgang Amadeus Mozart's (1756–1791)), the #5 Sinfonia Concertante in E-flat Major an orchestral work while his #6 Duo for Violin and Viola in B-flat Major is unusual in being written for just the two instruments.

Standard size instruments: viola (top) and violin (bottom).

The violin is smaller than the viola, a full-size violin typically some 14 inches (355 mm) in length while a full-size viola is around two inches (50 mm) longer and there are variations (four “standard” sized violas and nine violins) with the smallest generally available viola at 12 inches (300 mm), ideal for very young students with smaller limbs and hands.  Apart from the niche products, a viola will tend to be longer and have a body both deeper and wider.  The difference in size may not seem great but it affects the sound tone, the viola’s ability to play the lower frequencies partly a product of it physical bulk. The two are also played with different bows, the violin’s longer and slimmer and some 10 g (.35 oz) lighter, a product of the viola’s heavier strings which demand a more solid bow to attain clarity of sound in the lower frequencies.

2018 Porsche 911 GT3 in (paint-to-sample) Viola Purple Metallic over Black Leather & Alcantara with grey accents.

A more subtle difference in the design of the bows is found on the frog (the part at the end held by the player, to which the horsehair is attached), that on a viola’s fitting chunkier and often curved compared to the straight edge on a violin bow.  This appears to have no direct effect on the sound but because it influences the way a player holds the bow, experienced musicians can exploit the variations in the shape and the differences in tone can be stark.  While there are five-stringed violins and violas, the standard is four (G – D – A – E (violin: E is highest, G is lowest & viola: A is highest, C is lowest)).  Like the violin, the viola is tuned in fifths but instead of having the high E, it has a low C, one octave below the middle C and a viola’s strings are thicker (and thus heavier).  What all this means is that the notes produced by a violin produces are higher-pitched, thus the attraction to composers for use in solos.  That’s a well-known part of the tradition but both instruments are best understood when the family of four are played in unison, producing what musicians call a “sound color” with each distinct yet when combined the four can in certain compositions be interpreted as a “single instrument”.