Entasis

Entasis (pronounced en-tuh-sis)

(1) In architecture, a slight convexity given to a column or tower, claimed to correct the optical illusion of concavity and create the perception of straight lines.

(2) In medicine and physiology, an involuntary or spasmodic muscular contraction (also called entasia (from the Greek ɛnˈteɪzɪə)).

(3) In typography & calligraphy, the thinning in the waist of a stroke, the technique used to compensate for the visual perception of a stroke with perfectly straight sides appearing slightly to bulge.

1745–55: From the Latin entasis, from the Ancient Greek ἔντασις (éntasis) (tension, straining), from εντείνω (enteínō) (to stretch or strain tight), the construct being enta, variant stem of enteínein (to stretch tight) + teínein (to stretch) + sis.  The –sis suffix was from the Ancient Greek -σις (-sis) and was attached to words in English often via Latin or French.  It was identical in meaning with the Latin –entia and the English –ing and was used (1) to form nouns of action or process (catharsis, dialysis, diagnosis, crisis etc), (2) in medicine to form nouns of condition (psoriasis, sepsis, tuberculosis, psychosis etc) and more generally (3) nouns as required (basis, oasis, thesis, stasis etc).  Entasis is a noun; the noun plural is entases.

The Entasis or Parthenon Principle

The Parthenon in Athens; it's the most celebrated use of entasis.

In modern architecture, entasis is the application of a convex curve to a surface for aesthetic purposes.  Its best-known use is in the columns from antiquity which curve slightly as their diameter is decreased from the bottom upward.  Because no relevant documents have yet been discovered, it’s not known whether the architects in antiquity applied the technique for aesthetic effect or as an engineering technique to enhance strength.  The latter is suggested by the design principle being described by Roman architect Marcus Vitruvius Pollio (circa 75 BC–circa 20 BC) using the Greek word enteino (to stretch or strain tight), suggesting some emphasis on structural strength rather than appearance.  However, until contemporary records are uncovered, their reasons for using entasis remain mysterious, hence the two-thousand odd years of conjecture.  The earliest known documented view of the matter was that written by Greek mathematician and engineer Hero of Alexandria (circa 10-circa 70), is that entasis corrects the optical illusion of concavity in the columns that the human eye would create if the correction were not made.  

Basilica's western front of the Second Temple of Hera, a Greek temple in Paestum, Campania, Italy.

The Second Temple of Hera (circa 55 BC) was built in the Doric order, just north of the first.  For the visual effect of entasis to work, the convex curve has to be so slight as to be imperceptible and it's not known why the Second Temple of Hera has an entasis so pronounced the curvature is obvious; there is illusion of straightness.  The proportions are such that historians have speculated it must have been deliberate (presumably for structural strength) but it's at least possible the architect was afflicted by the desire many of his modern contemporaries share: The wish to produce something "original" and "new", the reason why so many modern buildings are so unpleasing to the eye, architectural awards & prizes handed out not for beauty and elegance but novelty and shock.

For millennia, entasis and its place in the history of architecture has been one of the most persistent tales from Antiquity but there have long been contrarians prepared to argue the concept, while not exactly a myth, is greatly exaggerated in significance.  In September 2026, Belgian mathematician Professor Alain Goriely (b 1967; professor of mathematical modelling at the University of Oxford) published the findings of his study, challenging the belief the Parthenon’s “curves” were included to correct “optical illusions” that would have made pure straight lines appear “distorted”.  What the professor’s modelling was said to reveal was (1) the “curves” are practically imperceptible and the alleged “illusion” they were claimed to correct doesn’t exist; “the illusions are illusory”.  Deconstructing Vitruvius, the study begins with the claim the sides of the Parthenon’s stylobate (base) are not horizontal but form a very flat “V”, rising gently 60 mm (2.36 inches) towards the centre.  According to Vitruvius, this was to correct the illusion that, when viewed as a whole, the base appears to “sag in the middle”.  For centuries, the “sagging effect” was attributed to one of two “tricks of the light”: (1) That because of the way light is interpreted by the human brain, long horizontal lines “appear to slump” towards the centre or (2) That the structure’s marble columns create the illusion; this based on the “Hering illusion” (where in 2D (two dimensions) parallel lines can appear “bowed” when intersected by other lines).  Professor Goriely found nothing to support either proposition, noting the Hering illusion (discovered in 1861 by German physiologist Ewald Hering (1834--1918) is most apparent when lines intersect at acute angles and the Parthenon’s columns are anyway “too close to the vertical” to produce the illusion.  Additionally, extensive modelling produced no proof the effect would manifest on the Parthenon even in 3D (three dimensions), viewed from any angle.

The persistent claims of entasis.

Those details were really footnotes in architecture textbooks, entasis the most famous of the legends.  What that suggests is “bulges” in the Parthenon’s columns (the curvature called entasis) were included by the builders to correct an optical illusion that would make them appear “too narrow” in the middle.  Not only did Professor Goriely found no evidence the illusion exists but the columns bulge by a mere 18 mm (less than ¾ inch) which, at that scale, is simply not perceptible to the human eye at a typical viewing distance.  What he doesn’t dispute is the architects may have had some reason to include variations in the dimensions; it’s just he found no evident they were there as “optical correctives”, the slopes on the base perhaps there for a reason as mundane as preventing puddles forming after rain; as every builder knows, only a very slight incline is needed for water to flow.  The very minor increase in width in the columns’ centre sections is more mysterious and may have been something to do with what would have been a very labor-intensive production process but there seems to be no optical effect.

Beyond the math, Professor Goriely speculates the reason the myth has proved so enduring was the extraordinary level of veneration granted to the engineers, philosophers and architects of Antiquity when, in the late Medieval period and (especially) the Renaissance, so many of the texts were “re-discovered” and a the perception emerged of Ancient Greece as a supremely knowledgeable and ingenious civilisation.  For centuries, in Western Europe, the Classical World was idealized and unless explicitly disproved (as came to be done of their medicine, cosmology and such), the texts were treated with great respect, thought something of “Civilization’s gold standard”.  In the modern age, the veracity of what Vitruvius wrote tended to be reinforced by internet users repeating the tale, search engines affording a greater credibility to “facts” appearing in the greatest volume.  Now of course, AI (artificial intelligence) bots have centuries of architectural texts from which to harvest information and given what Vitruvius who wrote about the Parthenon (400 years after its construction), came to be treated as something “scriptural” (despite the loss of loss of the many Greek texts about their temple architecture he claimed to have read when preparing his own), the authority was strengthened.  Untypically for an academic paper, the professor recommends not too much dwelling on his findings but commending instead: “Trust your own eyes, question what you see and decide for yourself whether the theory of optical corrections holds up.”  Professor Goriely concluded entasis “might be the oldest myth that we have” before mischievously adding “apart from religion.”

1964 Rolls-Royce Silver Cloud III Flying Spur; coachwork by H.J. Mulliner Park Ward.

One orthodoxy to emerge in the twentieth century was the famous Rolls-Royce radiator grille owed as much to Classical architecture as to being something there to prevent stones damaging the fragile core behind; if Rolls-Royce was going to be influenced by anyone, it’d be the architects of Antiquity.  According to chapter 4 of The Lexicon of Rolls‑Royce (the company doesn’t have web pages, it has chapters), what it styles as the “Pantheon Grille” was “…inspired by Rome’s imposing Pantheon temple, the Rolls-Royce grille is iconic. The Pantheon’s majestic columns were purposefully built with wider middle sections so that the human eye perceives each long pillar to be completely straight. It’s a perfect optical illusion and a genius stroke of design.  Taking inspiration from this, the Rolls-Royce grille is tactfully arranged using wider columns at the edge and thinner columns towards the middle to create an aesthetic illusion of symmetry when admired from the front. It’s a design that appears more perfect than nature intended.”  The days are gone when Rolls-Royce’s documents were characterized by understatement (it once described its engines’ power outputs as “adequate”), the vulgar numbers revealed only when German regulators humorlessly insisted.

While Professor Goriely’s computer models could find no evidence of the effect, a century-odd earlier, Rolls-Royce’s designers were convinced by the optical tricks of the Greeks and in 1925 integrated one of their optical techniques their new grille.  Although the “squared-off” shell dates from shortly after the company’s formation in 1904, not until 1928 did the now familiar grille with its upright bars become standardized.  Prior to 1925, the radiators were fronted by horizontal “slats” best thought of as “louvers” in that they functioned like “venetian blinds” (controlled by a lever next to the driver) to enable the airflow to be controlled (thus regulating engine temperature).  By the time of the release of the model Twenty in 1928, improvements in thermal-management technology meant the slats were no longer needed so the designers could start with a “clean sheet” and, being Rolls-Royce, the went neo-classical and built their own Pantheon, refining the ideas first seem in 1925 on the “New Phantom” (known retrospectively as the “Phantom I” (1925-1931) after new generations of the model followed).  So, although Professor Goriely’s math couldn’t detect any evidence entasis produced a detectable effect for those looking at the Parthenon, what Rolls-Royce does has been modelled and although slight, the effect of their trick is real.

Lindsay Lohan in Rolls-Royce Phantom Drophead Coupé (2007-2017).  By the 1970s factory (mostly) had ceased to use the historic terms FHC (Fixed-Head coupé) and DHC (Drop-Head Coupé (DHC) and the revival in 2007 for the Phantom Drophead Coupé has proved (thus far) a nostalgic one-off.  Over the decades, the designers generally were successful in their adaptations as they were required to make the grille wider and lower but the Phantom would have benefited aesthetically if a more traditional approach had been taken with the headlamps (centre) and even hidden units (right) would have been more pleasing.  Still, twenty-first century customers seem more accommodating of stylistic innovation than earlier generations.

According to opticians, what the design does (wider bars at the edges, more slender towards the centre) is create the illusion of symmetry when viewed straight on (at even a slight angle there will be no effect).  That’s said to be because when viewing such a structure, the brain processes the image as a whole (not a sequence of individual bars) and, paradoxically, what the slight difference in width does is render an “artificial equalization”.   Because of the way the brain processes the sight of a series of “parallel bars”, were they equally-spaced and equally wide, there would be a “hollowing” effect with a “pinching” towards the centre, caused by the natural human tendency to perceive outer edges as tapering away.  The eye is an outgrowth of the brain and it’s the brain doing the processing; while “looking at a grill” might sound a simple task, in the Rolls-Royce grille there’s a lot of “information” and processing it all is an act of high-level cognition.

Hi-rise Pantheon: 1965 Rolls-Royce Phantom V.  This was about at tall as the grille got; it appeared on the Phantom V (1959-1968) & VI (1968-1990).

All else being equal, the brain tends first to focus on an image’s centre (that information sent to the fovea centralis (the part of the retina handling “sharp central vision”)) with the edges simultaneously entering the “peripheral vision” where spatial resolution decreases (the brain therefore gathering less precise detail about the outer dimensions).  All this happens in a fraction of a second but does still happen sequentially, the brain using “predictive modelling” to “fill in the blanks” and there is much to process, the grille a large, highly reflective three-dimensional object with repeating lines.  The brain’s visual cortex has much to do understand the contrasting light patterns and depth cues and that it does all this in a fraction of a second in an indication of how powerful a machine it is.  Additionally, Rolls-Royce further assists the brain in “manufacturing perfection by machining each bar with a very slight outward curve, not detectable to the naked eye.  The combination of this functionally imperceptible “width-shifting & curvature” uses the way the brain operates to induce the required corrective “shortcuts”.

The Pantheon Temple, Rome (left) and 1985 Rolls-Royce Camargue (right).

The Pantheon's Latin inscription M·AGRIPPA·L·F·COS·TERTIVM·FECIT isn't all that poetic and reads like a note the draftsman might have put on the blueprint (had there then been blueprints): it translates as "Marcus Agrippa, son of Lucius, made [this building] when consul for the third time.", crediting the Roman statesman & general, Marcus Vipsanius Agrippa (circa 63 BC–12 BC) who commissioned the construction during his third consulship in 27 BC.  The Pantheon that stands today was rebuilt by Emperor Hadrian (Publius Aelius Hadrianus, 76–138; Roman emperor 117-138) circa 126 AD after the original structure suffered severe damage in a blaze; Hadrian chose to retain Agrippa's inscription as a tribute (not all the emperors were narcissists).  Since 609 AD, the Pantheon has been a Roman-Catholic church and is known as the Basilica Santa Maria ad Martyres (Basilica of St. Mary and the Martyrs).   In 1975, when the Camargue (1975-1986) was released, the novelty of it being the first Rolls-Royce designed using exclusively metric measurements (except for the odd carry-over component) attracted little attention but there was much comment about it being the first built with anything but a perfectly vertical grille.  The Camargue's grille was slanted at a (for mid-century Rolls-Royce) rakish 7^o.

Waftability

Parthenon Grill, Murfreesboro, Tennessee.

Understandably, the malapropism “Parthenon grill” is sometimes heard (and there is a well-reviewed Greek restaurant in Murfreesboro, Tennessee of that name) and despite occasional claims, the Pantheon grille doesn't feature a classic entasis (slight swelling in the middle of a column to counteract the alleged illusion of concavity) but the slight curve of the bars is real and can be checked with equipment no more complex than a “straight-edge” (a 12 inch (300 mm)) metal ruler ideal for the purpose.  Although for much of the twentieth century Rolls-Royce was much associated with straight lines (the “knife-edge” models bodied by coach-builder Hooper between 1935-1959 the high point of the brief era of  blending of a severe rectilinearly with the flowing lines of the pre-war aesthetic although, despite the mix, the approach was not within the lineage of post-modernism) curves have often been a component and in 2009 Tom Purves (b 1949; CEO of Rolls-Royce Motor Cars 2008-2010) announced the neologism “waftability” was “the essence of the brand”.  That, he defined as “calm perfect motion and accelerating quickly without fuss”.  Back then (and 2009 seems now little less remote than the days of the Cold War (1947-1991)), the CEO was describing the relationship between the appearance of a static Rolls-Royce as something that embodied that definition, revealing the internal name for the “gentle, upswept line of the sill” on the new Ghost model was a “waftline” (actually borrowed from the fashion business), the idea being it created “a powerful, poised stance and makes the car appear to be moving when stationary.”

1988 Rolls-Royce Corniche Convertible.  Although rendered redundant by electric motors, the Pantheon Grille will endure; it will be wider and lower (as has already happened) and some functional use may even be found but as an essential element in “brand identity” it won't go away.

The significance of “waftability” was Rolls-Royce was then still in the business of making large-displacement engines running on fossil fuels sound and behave as if they were electric motors but, by 2023, the company announced the Spectre, the brand’s first purely electric car.  So it had taken a while but the interest in electric energy predated even the formation of the company in 1904.  Sir Henry Royce (1863–1933) was an engineer who had designed dynamos, electric crane motors and patented the bayonet-style light bulb fitting while Charles Rolls (1877–1910) as early as 1900 drove an electric car declaring it the almost ideal form of propulsion, observing: “The electric car is perfectly noiseless and clean. There is no smell or vibration, and they should become very useful when fixed charging stations can be arranged.  But for now, I do not anticipate that they will be very serviceable – at least for many years to come.”  So it proved.  By 2023 however, the technology was ready and so (more debatably) was the infrastructure and there is nothing better at waftability than something large, luxurious and electric, Rolls-Royce saying that some time in the next decade, their last car running on fossil fuel will leave the assembly line.  Nothing lasts forever and, having spent more than a century trying to make ICEs (internal combustion engine) as smooth and silent as electric motors, the times seem now to suit Rolls-Royce.  For others (such as Ferrari, Porsche, Dodge etc), selling to a customer base with an emotional attachment to the howl, throb & scream of gasoline (petrol) exploding in six, eight or twelve combustion chambers, the challenge is to find a way to make them content with a piped soundtrack.  Engineers have conquered matters of performance and even range but nostalgia may prove harder to package.  For Rolls-Royce however, the task is simpler because it’s purely visual: While an electric car needs no radiator and thus no protective grill, it can be guaranteed Pantheon Grilles, severely cut in stainless steel, will continue to appear.

Fag

Fag (pronounced fag)

(1) Something hanging loose, a flap (mostly archaic except in US technical use in the industrial production of textiles where, in the process of quality inspections, a fag is a rough or coarse defect in the woven fabric).

(2) Slang for a boring or wearisome task (archaic).

(3) The worst part or end of a thing (mostly UK, now archaic).

(4) Offensive slang for a contemptible or dislikeable person (archaic).

(5) Offensive slang for a homosexual male, applied most often to an obvious, (especially effeminate) or “unusual” one (now regarded generally as especially disparaging and contemptuous although within certain LGBTQQIAAOP communities it can be neutral or even endearing (a la the notorious “N-word” when used between African-Americans).

(6) To tire or weary by labor; to be exhausted (usually in the phrase “fagged out”).

(7) A school student allocated to do menial chores for an older pupil (mostly in the English public school system but said to be extinct since the late 1990s although apparently still practiced in some Commonwealth countries with public (private) schools based on the old English model).

(8) Slang for a cigarette (now rare, especially in North America); the Cockney rhyming slang was “oily rag”.

(9) As “fag-end” (as in the stubbed-out, un-smoked end of a cigarette), a remnant of something once larger, longer etc, such as the frayed end of a length of cloth or rope.

(10) As “fag-end administration”, the last months of a government prior to an election.

1425–1475: Assumed to be a clipping of “fag end” (remnant; discarded off-cut), from the late Middle English fagge (flap; broken thread in cloth, loose end) of obscure origin), the later sense-development to the intransitive verb meaning “to droop, to tire, to make weary; drudgery” apparently based on the idea of “a drooping end” or “something limply hanging” dating from the 1520s (the OED (Oxford English Dictionary) suggests an alteration of the verb “flag” in the sense of “to droop or go limp”).  There may be some (remote) connection to the Dutch vaak (sleepiness) and the transitive sense of “to make (someone or something) fatigued or tire by labor” was first noted in 1826.  Those “fagged-out” (from fatiguing labor) were in the 1850s said to have been engaged in “faggery” and from the same era “brain-fag" described “mental fatigue”.  Apparently, although rare, “un-fagged” is a correct construction that may be used to describe the process of cutting the ties binding a bundle of faggots (sticks; kindling).  Functional forms (fag butt, fag lighter, fag grave (an ashtray) etc) are created as required. Fag is a noun and verb, fagging or fagged are verbs and faggish & fagged are adjectives; the noun plural is fags.   

A GIF of Lindsay Lohan enjoying a fag, The Canyons (2013).

The slang meaning “cigarette” dates only from 1888 and was derived from fag-end (applied to many things and attested since the 1610s), a cigarette butt thus one of many fag-ends but “fag” (and the plural “fags”) came much to be associated with cigarettes producing terms such as “packet of fags” and phrases like “back on the fags” (again taking up smoking after giving up for a while).  The use of the term to refer to cigarettes is still heard in parts of the English-speaking world but is almost unknown in the US where use is not advised because there, almost exclusively, “fag” (as a clipping of “faggot”) is a gay slur.  The specific use as “fag-end administration” (a government’s final year or months in office prior to an election) is used in a number of contexts but most interesting is when the period coincides with a change in leadership.  On the basis of the conventional political wisdom (things are more likely to get worse than they are to get better), if a new leader finds their “honeymoon” with the voters is reflected by polls suggesting a likely win in an election, they’re well advised to seize the moment, even if it means “going early” by a year or more.  That was what Anthony Eden (1897-1977; prime minister of the UK 1955-1957) did in 1955 (increasing his party’s majority) whereas John Gorton (1911-2002; prime-minister of Australia 1968-1971) in 1968 and Gordon Brown (b 1951; prime-minister of the UK 2007-2010) in 2008 made the mistake of waiting, things not working out so well.

Inhaling a known carcinogen is of course a bad idea and not recommended but, undeniably, Lindsay Lohan made smoking look sexy.

Faggery (or faggotry) was the system in English public schools in which the younger students acted as servants (there were sometimes other purposes) for the older.  It was part of public school environment Harold Macmillan (1894–1986; prime minister of the UK 1957-1963) said was designed primarily to teach pupils life was “inherently unfair”.  Still, he valued the process and described any chap who hadn't benefited from the experience as having “no background”.  The use in English public schools to describe a junior student who performs “certain duties” for a senior seems first to have been used in 1785 although the practice is documented from the seventeenth century while the schoolboy slang describing the institution’s roles respectively as “fagdom” & “fagmaster” dates from 1902.  In modern use, faggery (less so faggotry but like faggotness, faggotize & faggotism) is used as a gay slur.  The term “faggot voter” was a historic term in the UK & Ireland, used when there was a property qualification attached to the electoral franchise; a legal loophole, it described someone entitled to vote by virtue of holding some form of property title short of fee-simple (freehold), typically a subdivision.  The origin of the term was based on the idea of “faggot” in the sense of the sticks gathered together and bound to make a whole (ie one property with one title fragmented for electoral purposes while not diminishing the quality of the ultimate ownership).  The “loophole” began as an “unintended consequence” of changes to the rules of real property but wasn’t reformed until the late 1800s because so many land-owners and members of parliament made use of it to “stack their constituencies” with voters.

The Duce's contribution.

The Italian term fascismo (a fascist dictatorship; fascism) was from fascio (bundle of sticks) and ultimately from the Latin fasces (bundle of rods containing an axe with the blade projecting).  Relics from Ancient Rome (left) confirm the fascio littorio was represented both with the head of the axe protruding from the centre of the bundled rods of the fasces and through a gape in the side (left) but in Fascist Italy (1922-1943), the official images (right) issued by the state used almost exclusively the latter arrangement.  Fascism was that rare thing in political science; genuinely it was new.

As a shortening of faggot, “fag” is documented as being applied as a term of disparagement to homosexual males from 1914, an invention of American English slang, though related to the earlier (1590s) contemptuous term for a woman, especially an old and unpleasant one (thus a re-purposing of “faggot” in the sense of “a bundle of sticks”, the idea being something awkward to carry, equating “worthless baggage” with “a worthless woman”).  More speculatively, there may be a link with the Yiddish פֿייגעלע‎ (feygele) (literally “little bird” but used (1) as a term of endearment for a loved one, especially a man's wife and (2) in a derogatory manner: a homosexual man).  There may also have been some connection with the English public school slang noun fag which even then carried the suggestion of catamite, from the Latin catamītus (boy kept as a sexual partner), from catamītus, from the Etruscan catmite, from the Ancient Greek Γανυμήδης (Ganumḗdēs) (Ganymede).  In Greek mythology, Ganymede was an attractive Trojan boy abducted by Zeus and taken to Mount Olympus to become his cup-bearer and lover (Ganymede endures as a doublet in that sense).  The term “faggot marriage” was not a synonym of “lavender marriage” (an arrangement in which a homosexual man and a lesbian for purposes of social or professional respectability) but a disparaging reference to gay marriage, an issue that as late as the 1990s the US Republican Party was confident would be a useful “wedge issue”; generational change shifted opinion.

In the same way the now notorious N-word has been re-claimed by certain sub-sets of people of color and is (in context), an acceptable use by or between them, “faggot”, although now regarded generally as especially disparaging and contemptuous, within sub-sets of LGBTQQIAAOP communities it can be neutral or even endearing.  Two inventive variations were “fag hag” (a heterosexual woman who socializes with homosexual men (1969)) and “fag stag” (a heterosexual man who socializes with homosexual men (circa 1995)).  The less common companion slang for men who have many lesbian friends was “dutch boy”, “lesbro” or “dyke tyke”.  Covering all bases, it transpires that those of both sexes (and certainly “any gender”) who associate with lesbian, gay and bisexual people are “fruit flies”.  The story that male homosexuals were called faggots because they were burned at the stake as punishment is an urban legend with no etymological or historical basis.

Portrait of Henry VIII (circa 1538), from the studio of Hans Holbein the Younger (circa 1497-1543), oil on panel, Walker Art Gallery, Liverpool, UK.  The original was part of the Whitehall Mural (depicting the Tudor dynasty) at the Palace of Whitehall, Westminster (lost in a fire in 1698) but there are many copies (the king encouraged the distribution of reproductions, the artist having rendered a most sympathetic portrait).

Burning at the stake sometimes was a punishment meted out to homosexuals in Christian Europe (relying on the scriptural suggestion invoked as the Biblical fate of Sodom and Gomorrah), but in England, although under the reign Henry VIII (1491–1547; King of England (and Ireland after 1541) 1509-1547) parliament had passed The Buggery Act (1533) criminalizing “the detestable and abominable Vice of Buggery committed with Mankind or Beast” and a conviction could attract the death penalty, that was by being hanged rather than incineration.  As it was, death came to be thought so onerous a punishment for what was often a consensual act that prosecutions became rare and in the twentieth century, (Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) explained why cases so rarely reached the courts: “Prosecutors know convictions are difficult to obtain because half the jury wouldn’t believe such things happened and the other half habitually were doing it.”  While the inquisitorial and judicial organs of the Roman Catholic Church may over the centuries have burned at the stake a goodly number of homosexuals, that really was incidental to the process (sort of the “collateral damage” of the day), the sentence imposed usually for other offences (typically heresy).

Faggot was from the Middle English fagot, from the Middle French fagot (bundle of sticks), from the Medieval Latin and Italian fagotto and related to the Old Occitan fagot, the Italian fagotto & fangotto and the Spanish fajo (bundle, wad).  In Italian, a fagotto was (1) a bundle or sack, (2), (figuratively) a clumsy or awkward person (a klutz), or (3) in music, a bassoon and was probably from the Italian fagotto (diminutive of Vulgar Latin facus, from the Classical Latin fascis (bundle of wood), or perhaps the Ancient Greek φάκελος (phákelos) (bundle).  The senses relating to persons, though possibly originating as an extension of the sense "bundle of sticks", could have been reinforced by Yiddish פֿייגעלע‎ (feygele) (literally “little bird” but used (1) as a term of endearment for a loved one, especially a man's wife and (2) in a derogatory manner: a homosexual man).  In English, “fagot” was long the alternative spelling.

Lighting the spark.

Spencer Rascoff (b 1975; CEO of Match Group (Tinder's holding company)) at the Tinder Spark Week 2026 product conference.  Tinder is subject to constant product development and recent innovations include matching based on astrology and tastes in music.  Intriguingly, data-mining revealed Gen Z users (the demographic cohort sandwiched between Millennials & Alphas and roughly those born between 1997 and 2012) wanted IRL (in real life) dating and to this Tinder responded, in March 2026 adding a dedicated tab for users to discover and RSVP to local, “low-pressure” gatherings like trivia nights, pickleball, basket-weaving groups, ceramics classes, and beach tennis (one must be “Photo Verified” to select “Interested” and see other attendees).

There was a time when the most common use of “faggot” was to describe the bundle of sticks used as kindling (small pieces of wood, twigs or other finely-divided fibrous matter used to start a fire) and, when arranged in a pile, these pieces were “the kindling” (from the Middle English kyndelen, from the Old Norse kynda (to inflame), from the Proto-Germanic kundijaną.  Other than the literal use (fire-starting), the word could also be applied figuratively (in the sense of “to arouse or inspire passion, enthusiasm etc”), familiar in phrases such as “the book kindled her interest in the author's work”.  Kindling is however the second stage of the three-part process of fire-starting, tinder first used to light the kindling that then ignites the main fire.  Tinder was from the Middle English tinder, tunder, tender & tonder, from the Old English tynder, from the Proto-Germanic tundrą & tundrǭ (tinder) and related to the Saterland Frisian Tunder (tinder), the Dutch tonder (tinder), the German Zunder (tinder) and the Swedish tända (to light, to set on fire).  Launched in 2012, the Tinder app is an online dating and geosocial networking platform (best understood by the more evocative “hook-up site”).  The Tinder name was adopted because the original (Matchbox) was too similar to the existing match.com (a US dating site) and the idea was of “tinder” as the medium to “spark the fire”.  A genuine cultural phenomenon, Tinder has been highly successful and was the app that legitimized the now universal “swipe feature”.

There can also be figurative use of the literal sense, Ernest Bevin (1881–1951; UK foreign secretary 1945-1951) remarking of his part in the downfall of George Lansbury (1859–1940; leader of the UK Labour Party 1932-1935): “Lansbury has been going about dressed in saint’s martyrdom; I set fire to the faggots.”  Old Ernie Bevin was unsentimental but others had real affection for Lansbury, the historian Alan John Percivale "AJP" Taylor (1906–1990) reflecting on his place in the place in the pantheon by calling him: “The most loveable figure in modern politics” and Harold Laski (1893–1950; LSE (London School of Economics) professor of economics 1926-1950 and chairman of the UK Labour Party 1945-1946) was realistic but generous, summing up Lansbury by saying: “Not a very clear head but with a heart that reached beyond the stars.”.  Ernie Bevin, a most practical politician, had little patience for Laski.  When once the academic economist asked Bevin: “Is there anything more I can do for you?”, he received the tart retort: “Yes. Keep quiet.”  That view was shared by Clement Attlee (1883–1967; prime minister of the UK 1945-1951) who often had cause to be annoyed by Laski giving interviews and issuing public statements contradicting official government policy.  After Laski in August 1945 made a series of embarrassing public remarks regarding potential socialist revolutions (in countries where the government wouldn't welcome such things), Attlee sent a famously blunt letter: “You have no right whatever to speak on behalf of the Government... I can assure you there is widespread resentment in the Party at your activities and a period of silence on your part would be welcome.”  Unlike his predecessor in 10 Downing Street (Winston Churchill), Attlee used as few words as possible but few failed to understand his meaning.  Comrade Stalin (1878-1953; Soviet leader 1924-1953) first saw Attlee at the Potsdam Conference (July-August 1945) and thought him unimpressive, remarking: “Mr Attlee does not look like a man hungry for power” but his mild-mannered countenance was deceptive; in office he proved quite ruthless.

Winds of change: Left: Winston Churchill, left, Harry S Truman (1884–1972; POTUS 1945-1953, centre) and comrade Stalin, right) and Right:, Clement Attlee, left, Harry S Truman, centre and comrade Stalin, right, Potsdam Conference, July & August 1945.  Standing behind the heads of government are (left to right), Fleet Admiral William Leahy (1875–1959; Chief of Staff to the Commander in Chief (POTUS) 1942-1945, Ernest Bevin, James Byrnes (1882–1972; US Secretary of State 1945–1947) and comrade Vyacheslav Molotov (1890–1986; Soviet foreign minister 1939-1949 & 1953-1956).  Franklin Delano Roosevelt (FDR, 1882–1945, POTUS 1933-1945) valued Admiral Leahy’s advice on military and political matters but didn’t rely on his views on physics.  Famously, the admiral’s view of the Manhattan Project (developing the first nuclear weapons) was it would “…be a failure and I say that as an explosives expert”.  He was of course proved wrong but his reputation didn’t suffer.

Held in Brandenburg's Cecilienhof Palace in what would soon become the GDR (Deutsche Demokratische Republik (German Democratic Republic; the old East Germany, 1949-1990)), was the last of the three (following Tehran, 28 November-1 December 1943 & Yalta, 4-11 February 1945) World War II (1939-1945) meetings of the heads of government of the UK, US & USSR.  Truman and comrade Stalin attended for the duration while Churchill represented the UK until 24 July, leaving for London the following day to be present for the declaration the general election results.  He left without saying farewell to Truman and Stalin because he expected to be re-elected and return within days.  Instead, in a landslide, the Conservatives were defeated and, on 28 July, the Labour Party’s prime minister Attlee flew to Potsdam for the conference’s resumption.  The defeat provoked a variety of reactions within the Soviet delegation.  Comrade Stalin, who had no particular objection to elections, believing “it mattered not who voted but rather who counted the votes”, was surprised, having assumed the Conservative Party would have “fixed” the result while Churchill’s personal physician noted in his diary the comment of one female Soviet soldier who, on hearing the news, said she expected Mr Attlee would “…now have Mr Churchill shot”.  On 29 July, leaving Chequers (the prime minister’s Buckinghamshire country house) for what he assumed would be the last time, Churchill signed “finis” in the visitors’ book but was too pessimistic, returning to office in 1951 and staying (despite a severe stroke in 1953), until 1955, resisting the efforts by many of his colleagues to “prise him out”. 

A sincere form of flattery: North American F-86 Sabre (first flown October 1947, left) and Mikoyan-Gurevich MiG-15 (first flown December 1947, right).

A well-crafted amalgam of technology stolen from the West (the airframe construction techniques from the US, the jet-engine a blatant copy of the British Rolls-Royce Nene and the aerodynamics from German research during World War II), the USSR’s Mikoyan-Gurevich MiG-15 was a short-range interceptor, the appearance of which in the skies of the Korean War (1950-1953) theatre was such a shock to the UN (United Nations) forces that the USAF (US Air Force) had to scramble to assemble squadrons of North American F-86 Sabres for deployment.  Made in both the USSR and by licensed overseas constructors, the MiG-15 was produced in extraordinary numbers (some sources suggest as many as 17,700) and equipped not only Warsaw Pact (1955-1991, a “mutual-assistance” treaty between the states behind the Iron Curtain within Moscow’s sphere of influence; it was formed in response to NATO) militaries, some three dozen air forces eventually using the type; it remained in front-line service well into the 1960s.  Simple, robust and economical to operate, they proved ideal as jet-trainers because the predictable characteristics made them forgiving in novice hands; in private ownership, many still fly.  Soviet consumer goods of the post-war years may have been of dubious quality and often in short supply (shoes for example were available in black or brown but brown was usually out-of-stock) but the MiGs were well-built and numerous.

The MiG-15’s NATO (North Atlantic Treaty Organization; the trans-Atlantic alliance formed in 1949 as a defensive system for Western Europe designed (in the phrase of General Lord (Hastings “Pug”) Ismay (1887–1965; secretary general of NATO 1952–1957): “to keep the Russians out, the Americans in and the Germans down”) reporting name was “Fagot”.  Officially, NATO reporting names have no linguistic or etymological significance, being chosen (1) with an initial letter indicating type (B=bomber; F=fighter; C=commercial & cargo; H=helicopter; M= miscellaneous) and (2) a one-syllable name for propeller aircraft and a two-syllable name for jets.  Fagot was just another reporting name picked from NATO’s list of the possible for allocation to fighters.

Fairytale of New York (1987) is a song by the Irish pop-band The Pogues, augmented for the occasion by the late Kirsty MacColl (1959-2000).  One stanza included the lines:

You're a bum

You're a punk

You're an old slut on junk

Lying there almost dead on a drip in that bed

You scumbag, you maggot

You cheap lousy faggot

Happy Christmas your arse

I pray God it's our last

The offending (in the sense of “offensive”) line obviously was: “You cheap lousy faggot” and for many years, every Christmas, there was in England an almost ritualistic argument about whether it was appropriate to play the piece on radio, a matter of some interest because Fairytale of New York frequently was voted the nation’s most popular Christmas song, something displeasing many reverend and right reverend gentlemen although Lambeth Palace seems never to have commented on the squabble.  In the late 1980s, the BBC (British Broadcasting Corporation) seemed unconcerned at the possibility of a gay slur being thought at least implied but found the anatomical slang offensive, asking that “arse” be replaced with “ass”, a liberal approach compared with the old BBC tradition of outright bans (a policy that endured long after Sir John Reith's (later Lord Reith, 1889–1971; BBC Director-General 1927-1938) era) but, in the 1990s, sensitivities shifted to gender and, in subsequent live performances, MacColl sometimes adjusted the lyrics further, singing "You're cheap and you're haggard".  Since then, broadcasts have varied in the version carried, the BBC even permitting all or some of “arse”, “slut” & “faggot” on certain outlets but not others.  There was also use of the old practice “bleeping out” (actually scrambling) “arse”, “slut” & “faggot” as required and even today it's said to be unpredictable just which version will be played.  It did seem one of the more improbable battlefields of the culture wars but was emblematic of the new censorship.  Although, in the context of the song, it was obvious “faggot” was being used in the old sense of meaning “someone worthless” rather than “a bit of a homosexual”, the objection was to the very word which many activists demand should be proscribed, the same fate suffered by “niggardly”, a word with an etymology as unrelated to the notorious “N-word” as the meaning.