Hecatomb

Hecatomb (pronounced hek-uh-tohm or hek-uh-toom)

(1) In ancient Greece and Rome, any great public sacrifice and feast, originally a public sacrifice to the gods of 100 oxen.

(2) In Medieval use, by extension, any great sacrifice; a great number of people, animals or things, especially as sacrificed or destroyed; a large amount.

(3) In modern use (loosely), any great slaughter.

1585–1595:  From the Latin hecatombē, from the Ancient Greek ἑκατόμβη (hekatómbē) (originally (and literally) “an offering of 100 oxen” and later “any great sacrifice”), from hekatombwā, the construct derived from the idea of ἑκατόν (hekatón) (one hundred) + -bwā, (a form which etymologists have always found curious an assumed to be a derivative of βοῦς (boûs) (ox), from the primitive Indo-European root gwou- (ox, bull, cow).  The origin of hékaton is also a mystery but the construct may be from hem-katon, with hen (a neuter of heis or eis (one)) + katon (hundred).  The first month of the Attic calendar (July-August) was Hekatombaion, the annual season of sacrifice.    Hecatomb is a noun; the noun plural is plural hecatombs.

Hecatomb remains rare and obscure except in historic use but can, in the correct context, be used as a linguistic flourish as an alternative to warfare, havoc, killing, slaughter, crime, butchery, bloodshed, homicide, murder, liquidation, rapine, blood, blitz, holocaust, extermination, annihilation, shambles etc but should not replace the specific forms genocide or the holocaust; opinion is divided on whether it’s a suitable substitute for events pre-dating World War II which were historically described as holocausts.  Holocaust was from the Middle English holocaust (burnt offering), from the Anglo-Norman holocauste, the Old French holocauste & olocauste (which exists in modern French as holocaust), from the Late Latin holocaustum, from the Ancient Greek ὁλόκαυστον (holókauston), the neuter form of ὁλόκαυστος (holókaustos) (wholly burnt), the construct being ὅλος (hólos) (entire, whole (ultimately from the primitive Indo-European solh- (whole)) + καυστός (kaustós) (burnt), from καίω (kaíō) (to burn, burn up), the source of which is uncertain although there may be some link with the primitive Indo-European kehw-.  The verb is derived from the noun

The word holocaust is regarded by some as problematic (in the modern way that word is now used).  Holocaust has since at least the 1960s been established as the descriptor of the industrialized mass murder of Jews by the Nazis, the decision to exterminate the Jews of Europe taken in 1941 and formalized in 1942.  Some Jewish scholars however criticize the use of the word because of the historical associations with voluntary sacrifices to God and don’t wish any to draw the inference there was any voluntary religious purpose in the Nazi crime, either from the perspective either of the perpetrators or the victims.  Their preferred term is Shoah, (from the Hebrew שׁוֹאָה‎ (catastrophe).  Other Jewish scholars note the technical point but argue the use of Holocaust (capitalized) uniquely as a descriptor for the events of 1942-1945 is didactically helpful in a way a wider adoption of Shoah would not serve.

The Pentelic marble sculpture of the procession of sacrificial bulls during Hekatombaion, from the Parthenon frieze.

According to a legend which appears in more than one source, when the Greek philosopher Pythagoras discovered what came to be called the Pythagorean theorem (the one about famous right-triangles), he celebrated by sacrificing a hecatomb (100 head) of oxen to the gods.  Lewis Carroll (Charles Lutwidge Dodgson, 1832–1898) is remembered now mostly for Alice’s many adventures but he was also a prolific author of works in mathematics, a discipline in which he took a first at Oxford.  In A New Theory of Parallels (1895), he wrote his whimsical take on the legend of the Pythagoras’s sacrifice.  As an anecdote it probably wouldn’t get many laughs in a any of today’s stand-up comedy clubs but it’s a nice relic of gentlemanly Victorian humor by one who was once an Oxford under-graduate and never quite recovered:

But neither thirty years, nor thirty centuries, affect the clearness, or the charm, of Geometrical truths.  Such a theorem as “the square of the hypotenuse of a right-angled triangle is equal to the sum of the squares of the sides” is as dazzlingly beautiful now as it was in the day when Pythagoras first discovered it, and celebrated its advent, it is said, by sacrificing a hecatomb of oxen — a method of doing honor to Science that has always seemed to me slightly exaggerated and uncalled-for.  One can imagine oneself, even in these degenerate days, marking the epoch of some brilliant scientific discovery by inviting a convivial friend or two, to join one in a beefsteak and a bottle of wine.  But a hecatomb of oxen!  It would produce a quite inconvenient supply of beef.

That in the German vernacular someone thought a dunce is called “an ox” allowed the penning of some Teutonic whimsy, the satirist Karl Ludwig Börne (1786–1837) observing: “After Pythagoras discovered his fundamental theorem he sacrificed a hecatomb of oxen. Since that time all dunces tremble whenever a new truth is discovered.”  The botanist and romantic poet Adelbert von Chamisso (1781–1838) also liked the pun which he used in a short verse:

Truth lasts throughout eternity,

When once the stupid world its light discerns:

The theorem, coupled with Pythagoras’ name,

Holds true today, as’t did in olden times.

A splendid sacrifice Pythagoras brought

The gods, who blessed him with this ray divine;

A great burnt offering of a hundred kine,

Proclaimed afar the sage’s gratitude.

Now since that day, all cattle [blockheads] when they scent

New truth about to see the light of day,

In frightful bellowing manifest their dismay;

Pythagoras fills them all with terror;

And powerless to shut out light by error,

In sheer despair, they shut their eyes and tremble.

Cellar

Cellar (pronounced sel-er)

(1) A room or set of rooms, for the storage of food, fuel etc, wholly or partly underground and usually beneath a building.

(2) As “wine cellar”, an underground room in wine is stored (now often built above ground but still referred to as “wine cellar”); as “cellar”, a stock of bottled wines.

(3) As “cellar dweller(s)”, in the slang of competitive sport, a reference to teams in the lowliest reaches of the points ladder.

(4) As a verb, to store something (usually wine) in a cellar.

(5) As “salt cellar”, (1) a historical term for a small dish used for holding salt to be dispensed by a spoon & (2) an alternative (if historically misleading) term for what tends in modern use (initially especially in North America but later more generally) to be called a “salt shaker”.

1175–1225: From the Middle English celer and the Old French celier (“salt box” which survives in Modern French as cellier) from the Anglo-French & Latin cellārium (pantry; storeroom (literally group of cells”)), the construct being cell(a) + -ārium, the later re-spelling adopted to reflect the Latin form.  The fifteenth century English saler is from the Old French salier (salière in Modern French), from the Latin salarius (relating to salt) from the Latin sal (salt).  The Latin salarium was a noun use of the adjective meaning "pertaining to salt," again derived from the Latin sal (salt) from the primitive Indo-European sal- (salt).  The sense "room under a house or other building, mostly underground and used for storage" gradually emerged in late Middle and early Modern English, cellar-door attested by 1640s.  The somewhat clumsy noun cellarer (the person, usually in a monastery, responsible for providing food and drink) appears to have gone extinct by the late eighteenth century.

Of cellars, jugs, pots, mills & all that

Lindsay Lohan with milk jug, preparing a Pilk.  A Pilk is a mix of Pepsi Cola and milk, one of a class of beverages created by the Pepsi Corporation called Dirty Sodas which includes the Naughty & Ice, the Chocolate Extreme, the Cherry on Top, the Snow Fl(oat) and the Nutty Cracker.  All are intended to be served with cookies (biscuits).

In English, to describe the containers in which small quantities of stuff (as opposed to bulk-storage such as a bin) was stored, a variety of terms evolved.  Ground pepper is stored in a pepper pot which is shaken; whole or cracked peppercorns being stored in a pepper mill (often now called a pepper grinder) which is ground.  Ground salt is stored in a salt cellar and should be dispensed with a spoon whereas if shaken from a container it's best called a salt shaker; salt crystals are stored in a salt mill (often now called a salt grinder) which is ground.  Sometimes, the pepper pot and salt cellar are kept in a receptacle called a condiment caddy.  Ink, if used by directly dipping in a nib or quill end, is kept in an inkwell; if bought from a shop, it is sold in an ink pot, the latter more recent and, with the decline of writing with ink, now more prevalent.  Gravy is served in a gravy boat.  A ramekin is a small bowl used for preparing and serving individual portions of a variety of dishes, including crème brûlée, soup, molten cakes, moin moin, cheese or egg dishes, poi, macaroni and cheese, lasagna, potted shrimps, ice cream, soufflé, baked cocottes, crumbles, chakra póngal, or scallops, or used to serve side garnishes and condiments alongside an entrée.  Biscuits are kept in a biscuit barrel.  Tea is kept in a tea caddy, milk is served from a milk jug and sugar is taken from a sugar bowl with tongs if in lumps and if in crystals, is taken with a spoon or sprinkled from a caster or, more rarely, a sifter. Liquid condiments such as olive oil and balsamic vinegar are served from a cruet.  Soups and stews are served in a tureen and dispensed with a ladle.

Japanese gold-lined sugar scuttle & sugar scoop with laurel leaf detailing (circa 1970s, left) and William IV Sterling Silver Sugar Bowl, John Fry II, London, England, 1832 (right).  Sugar scoops are used to scoop sugar from a “sugar scuttle” whereas if one’s sugar is in a “sugar bowl”, a “sugar spoon” is used.  The difference between a “sugar spoon” and a “tea spoon” is the former has a deeper and usually more rounded bowl and most are supplied as part of a “tea set” or “tea service”, often with the same decorative elements.

The word ladle is the subject of one of the more curious definitional disputes in English.  A ladle is thought by most reasonable folk to be a specialized spoon but there are pedants of gastronomy who insist that while ladles have a spoon-shaped bowl, the angle of the handle (which can be so acute as to be perpendicular to the bowl) means they are so different to every other spoon that they can be used only for ladling, not spooning.  The etymological evidence offered is that the Middle English ladel is from the Old English hlædel, derived from the Proto-Germanic hlaþaną (to load), derived from several primitive Indo-European sources which meant “to put”, “lay out”, to spread” and, the Old English hlædel (a glossing of the Latin antlia (pump for drawing water)) is from hladan (to load; to draw up water).  It’s less a technical point than a social class signifier known probably only to etymologist and the more snobby maîtres d'hôtel.

Saliera (salt cellar) circa 1542 by Benvenuto Cellini (1500-1571), Kunsthistorisches Museum, Wien.

In addition to the works he completed, Italian sculptor and goldsmith Benvenuto Cellini remembered for his vividly written autobiography, a few of the more extravagant tales suggesting some unreliability of memory but the four murders to which he confesses are undisputed and well-documented.  Convinced of his own greatness, which he did not seek to conceal from his readers, his virtues and vices he seems to suggest were the essential qualities of his genius and for an abundance of one he should be forgiven the excesses of the other.  Friends in high places seemed to agree.  Thanks repeatedly to the interventions of well-placed men of influence, including many cardinals and more than one pope, he was able either to escape punishment or secure pardons and early release from the imprisonment imposed for many of his crimes which, as well as the murders, included sodomy of both young men and women, one of whom in Paris filed a complaint accusing him of using her "after the Italian fashion".

A mannerist masterpiece, the memorable Saliera (salt cellar) is some 10" (250 mm) high and 13" (330 mm) wide, sculpted by hand from rolled gold, resting on a base of ebony into which are installed ivory bearings to permit it to be rolled between guests, around the table.  It represents the gods of the earth and sea, their legs intertwined and thought to suggest “those lengthier branches of the sea which run up into the continents”.  A small boat in which to store the salt floats next to the sea god while a temple for peppercorns sits next to the earth goddess, the figures on the base noting the winds and times of day.  When Cellini presented the piece he made no mention of the names of the figures and only later would they be identified as Neptune and Tellus.

Belvedere

Belvedere (pronounced bel-vi-deer or bel-ve-de-re (Italian))

(1) In architecture, a building, or an (often turret-like) feature of a building, designed and situated to look out upon a pleasing scene.

(2) A cigar, shorter and with thinner ends than a corona.

(3) A palace in Vatican City, Rome, now housing an art gallery.

(4) As Fort Belvedere (formerly Shrubs Hill Tower), a country house in Surrey, England, famously the site of the abdication of King Edward VIII in 1936.

(5) A widely used name for localities and structures.

Adopted in English in the sense of a “raised turret or open story atop a house” from the Italian belvedere (literally “a fair (ie beautiful) sight”), the construct being bel(lo) (beautiful), from the Latin bellus (beautiful, fair) + vidēre (to see; a view, sight), from the primitive Indo-European root weid- (to see).  The pronunciation is thought to have been influenced by the French form of the word.  The perhaps opportunistic but enduring noun gazebo is said by some to be a facetious formation, the construct being gaz(e) (from the Middle English gasen; akin to the Swedish dialectal gasa and Gothic usgasjan (to terrify) which English gained in the sense of "to stare intently or earnestly") + -ebo (the Latin first person singular future tense suffix, on the model of belvedere.  That’s an attractive etymology but the Oxford English Dictionary dismisses the theory, saying it’s a corruption of a word from the orient, possibly the Arabic قَصَبَة‎ (qaṣaba) (source of the familiar casbah).  Belvedere is a noun; the noun plural is belvederes.

In architecture, the word "tower" is used loosely but technically a tower should rise from ground-level to its conclusion whereas a turret begins part-way up a building, most commonly at a corner.  Historically a turret was something on a small scale (relative to the building on which it sat) and usually little more than ornamental (although for centuries many were part of the defensive system of a fort or castle, both as an observation and fire-point) while a belvedere's sole purpose should be to offer a commanding view of some pleasant vista.

Belvédère du Rayon Vert, Cerbère, France

Closed in 1983, the art deco Belvédère du Rayon Vert is a former hotel in Cerbère, France, built between 1928 and 1932.  What was known as “ocean liner” style was at the time popular in interior decorating but, taking advantage of the shape of the available land, the architect Léon Baille (1828-1932) extended the nautical idea to the whole building which follows the lines of a ship and borrowing further from the decks of ocean liners, a tennis court sat on the roof.  One of the nation’s protected historic monuments, some of the rooms have been restored as apartments and tours are conducted during the holiday season.

The Plymouth Belvedere

The use of the Belvedere name by the Chrysler’s corporation low-priced (and now defunct) Plymouth brand is illustrative of the practice of the US industry in the mid-late twentieth century to create a prestige model which gradually would be moved down the hierarchy as other names were introduced at the top of the range.  The Belvedere nameplate also shifted between market segments, moving from the full-sized to the intermediate platform as Detroit’s offerings began to proliferate as the public (sometimes by economic necessity) began to prefer smaller cars.

1951 Cranbrook (left), 1951 Cranbrook Belvedere (centre) and 1956 Belvedere (right).

Plymouth introduced the Belvedere name in 1951 for the new, two-door hardtop version of Cranbrook line, Plymouth’s first model with the style which would for a quarter-century be a signature of Detroit’s more expensive cars.  In 1954, the name ceased to be an option and the Belvedere supplanted the as Cranbrook as the top-of-the-range model, offered now in all available body-styles (sedans, hardtops, station wagons, and convertibles) in a mix of two and four-door configurations.  The 1951 line looks frumpy now and even then was considered bulbous compared with the more modernist lines coming from the Ford and General Motors (GM) design studios but Chrysler at the time was run by a chief executive who dictated their products had to be able to driven “by a man wearing his hat”.  That view was abandoned for the 1955 models and the refinements which followed the next year were emblematic of the longer-lower-wider dictum which would dominate the industry for a generation.

1957 (left), 1960 (centre) and 1961 (right) Belvederes.

The 1957-1960 Belvederes are among the best remembered from Detroit’s crazy macropterous years, and are related to the final iteration on the 1961 Imperial which featured the tallest fins of the era although it’s the extravagance of the 1959 Cadillac which is most famous.  The 1957 Plymouths, released with the advertising slogan “Suddenly it’s 1960” created a sensation but unfortunately, although immediately popular, the quality control was patchy (like some of the paintwork) and Chrysler's reputation would for years suffer.  The styling lasted until 1961 by which time the craze was over and the big fins looked dated but the replacement was truly bizarre.  Sales suffered but so low is the survival rate of the 1961 Belvederes their very scalloped weirdness has made them a collectable.

1962 (left), 1963 (centre) and 1964 (right) Plymouth Belvederes.

Acting on misunderstood rumors (which some insist was industrial espionage) about what the competition was doing with their full-sized lines, Plymouth "downsized" the Belvedere for 1962, something which in little more than a decade would make sense but it was out of tune with the early 1960s.  That was a shame because the engineering of the cars was solid and many of those who did buy the things expressed satisfaction with the reduced exterior dimensions, noting there was little loss in interior space and those who definitely found an advantage in the lower weight and more agile handling were drivers using Belvederes in competition, the cars successful on both circuits and drag strips.  The styling however was again unfortunate and was soon toned-down; it didn’t become quite as bland as the 1961 Chevrolet (a reaction to the excesses of their 1959-1960 “bat-wings”) which was described as “looking a little like every car ever built” but it was certainly inoffensive.

1966 Belvedere (left), 1969 Hemi Roadrunner (centre-left), 1970 Superbird (centre-right) and 1970 Superbird in NASCAR trim (right)

With the restoration of a full-sized model to the range in 1965, the Belvedere was maintained in the increasingly important intermediate sector (similar in to dimensions to what the full-size cars had been before they became bloated in the mid-late 1950s).  A new trim package called the Satellite was added (a la what the original Belvedere had in 1951 been to the Cranbrook) and, responding to the increased demand for muscle cars, the high-performance GTX was created.  The line was restyled in 1968 using an interpretation of the then popular “coke-bottle” look and it was on this platform that the Roadrunner was built.  The Roadrunner essentially combined a stripped-down, basic Belvedere with the high performance engines and, stripped of any luxury fittings, it was cheaper as well as lighter.  Able to be configured to outperform even the GTX and offered at a price which on any cost/performance analysis was a bargain, it was an immediate hit and the line soon proliferated, Roadrunner convertibles and additional engines soon offered.  The Belvedere's final fling was also its apotheosis, the be-winged Roadrunner Superbird, offered only in the 1970 model-year as a homologation exercise to qualify the aerodynamic improvements for use in competition.  That year however marked the swansong of the Belvedere name, Satellite preferred as it was more in accord with the space age.

Miss Belvedere as now displayed (left), being lowered into her capsule in 1957 (centre) and as exhumed in 2007 (right).

The 1957 Belvedere was used in one of the larger and more unusual time-capsules.  Named Miss Belvedere as part of the city of Tulsa's “Tulsarama” Golden Jubilee Week festivities celebrating Oklahoma's fiftieth year of statehood, the car was on 15 June 1957 sealed in an underground vault to be opened a half-century later.  Intended as a prize to whomever came closest to guessing Tulsa's population in 2007, cognizant of the fears of nuclear war prevalent at the time, the enclosure was built to withstand hydrogen bombs being detonated in the vicinity.  Unfortunately, less attention was given to making things watertight and, when opened in 2007, the Miss Belvedere was found to have spent much of her fifty years wholly or partially submerged, the result muddy and rusty mess.  Some attempts were made to clean the worst of the damage in the hope a restoration might be possible but ultimately it was determined it was beyond salvation and she's now displayed as a dilapidated relic of a troubled yet optimistic age.

McMansions in their natural habitat.

Rightly or wrongly, many object to McMansions (the large, over-styled, essentially mass-produced houses built for the upper middle-class anxious to flaunt their wealth).  This is often an objection to conspicuous consumption and an extravagant use of resources but students of architecture focus on the confused mix of motifs which so often litter the structures with as many architectural clichés from palaces or castles as can be crammed into the space with little regard for scale or any sense of integrity.  On McMansions, it’s not unusual to see a mix of Corinthian columns, towers, turrets, belvederes, French doors, Gothic arches, flag-poles, stained glass, transom windows, balconies and porticos.  Much of the criticism probably is an expression of resentment that people with poor taste are able to afford such things but as a general principle, in architecture an emphasis on proportion and restrained elegance will tend to be more admired.

Fort Belvedere (formerly Shrubs Hill Tower), a country house in Windsor, Surrey, famously the site of the abdication of King Edward VIII in 1936 (left) and Belvedere Palace, Vienna (right).

Lindsay Lohan attending V Magazine, Marc Jacobs & Belvedere Vodka event, Hiro Ballroom, New York City, September 2009.

Chopine

Chopine (pronounced choh-peen or chop-in)

(1) A shoe having a thick sole, usually of cork, suggesting a short stilt, worn especially by women in Europe in the fifteenth and sixteenth centuries and said to have been introduced from the Ottoman Empire.

(2) A bottle of wine (usually Bordeaux) containing 0.250 fluid liters, 1/3 of the volume of a standard bottle.

1570–1580: From the Middle French chapin, from the Old Spanish chapín (type of high shoe or clog, raised by means of a cork sole), from chapa (plate), the construct being chap(a) (from the Middle French chape) + -in (the adjectival suffix).  The original, the Old Spanish chapín, is probably imitative of the sound made by the shoe when walking.

The ultimate platform shoe

How they worked.  Chopines were a kind of wonder bra for the feet.

Chopines began as a purely functional device; a means of raising women’s shoes and the hems of their dresses above the dirt and filth in which they were often compelled to walk.  It's said they were brought by traders from the Ottoman Empire where they'd been worn in bath houses by concubines, courtesans and others, the speculation being they were originally a modestly proportioned device designed as a health measure, a means of protecting the feet from infection, bath houses being warm, dark and moist, the perfect incubation environment for bacteria.  As sometimes happens, they became a status symbol with prestige determined by their elevation, the tallest extant examples reaching 20 inches (508 mm) although some historians claim they were built as high as 30 inches (762 mm).  Beyond a certain height practicality was marginal but there's evidence highly stylized examples were worn outside the bath house on ceremonial occasions.  Chopines were most popular in Spain and Italy in the late sixteenth century and when they spread to England, they were sometimes referred to as "the Venice" because of the perception that was their city of origin, something which seems to have arisen because of their mention in widely-read travel journals of the age.  Their impracticality must have made them a niche item because they never became part of any defined English costume or style of dress.  Whether men objected to women suddenly appearing taller is lost to history.

As shoes, they had a short life because their sheer size dictated they be made from lightweight materials like cork and wood although some used a metal framework.  The style, in a less extreme form, was briefly revived with the cork-soled platform soles of the 1970s which had the effect of creating a short-lived investment bubble in the Portuguese cork industry.

The absurdity of the style attracted the attention of writers.

"It is ridiculous to see how these ladies crawl in and out of their gondolas, by reason of their choppines [clogs]; and what dwarfs they appear when taken down from their wooden scaffolds; of these I saw nearly thirty together, stalking half as high again as the rest of the world."  (John Evelyn, diary entry, June 1645)

"By'r lady, your ladyship is nearer to heaven than when I saw you last by the altitude of a chopine." (Hamlet, act 2 scene 2, William Shakespeare, 1602)

"He creaked to and fro, tiptoing up nearer heaven by the altitude of a chopine... "(Ulysses, James Joyce, 1922).

Continuing the chopine tradition: Lindsay Lohan in Saint Laurent Billy leopard-print platform boots (Saint Laurent part number is 5324690SR00), New York, March 2019.

Grain

Grain (pronounced greyn)

(1) A small, hard seed, especially the seed of a food plant such as wheat, corn, rye, oats, rice, or millet.

(2) The gathered seed of food plants, especially of cereal plants.

(3) Any small, hard particle, as of sand, gold, pepper, or gunpowder.

(4) The smallest unit of weight in most systems, originally determined by the weight of a plump grain of wheat. In the US and British systems, as in avoirdupois, troy, and apothecaries' weights, the grain is identical.  In an avoirdupois ounce there are 437.5 grains; in the troy and apothecaries' ounces there are 480 grains (one grain equals 0.0648 gram).  A grain is ¹⁄_7,000 of an avoirdupois pound

(5) Slang term for the smallest possible amount of anything (eg not a grain of truth).

(6) The arrangement or direction of fibers in wood, or the pattern resulting from this.

(7) To paint in imitation of the grain of wood stone, etc.

(8) Slang term for marijuana which faded from use in the 1980s.

(9) In opposition to one's temper, inclination, or character (against the grain).

(10) In idiomatic use, as “take it with a grain of salt”, an expression of scepticism.

(11) A solid-fuel rocket's propellant charge; tending to the shape of a hollow cylinder, sometimes textured, the size varying, up to a point in proportion with the device to be equipped.

1250-1300:  Middle English grein ("a small, hard seed" especially of one of the cereal plants, also as a collective singular, "seed of wheat and allied grasses used as food;" also "something resembling grain; a hard particle of other substances" (salt, sand, later gunpowder etc)) and the twelfth century Old French grein (eed, grain; particle, drop; berry; grain as a unit of weight) from the Latin grānum (seed, a grain, small kernel), from the primitive Indo-European root gre-no- (grain).  In the US, where corn developed a specialized sense because of its place in agricultural economics, it is the general word and used of wheat, rye, oats, barley etc.

The earlier sense in English was the early thirteenth century "scarlet dye made from insects", a meaning attaches also to the Old French collateral form graine.  In Middle English grain also could mean "seed of flowers; pip of an apple, grape etc; a berry, legume, nut.  The verb grained (simple past tense and past participle of grain) dates from the 1520s and was used in compounds associated with "having grains of a specified kind" (coarse-grained, close-grained, fine-grained etc) and also the process of staining a surface with an imitation wood grain.

Figuratively, the late fourteenth century meaning "the smallest possible quantity" reflected the practicalities of commerce rather than a scientific expression, the conveniently available devices of the age unable accurately to measure anything smaller and there anyway being no practical use for such a measure.  From the early fifteenth century it was thus standardized (in law and customary practice) as the smallest unit of weight (originally the weight of a plump, dry grain of wheat or barley from the middle of the ear).  From the 1560s, it was used to describe "roughness of surface; a roughness as of grains", applied especially to timbers as a measure of the "quality due to the character or arrangement of its fibres".  From this use emerged the phrase “against the grain” a metaphor from carpentry dating from circa 1650 expressing the experience that cutting across the fibres of wood is more difficult than cutting along them.  Grain alcohol was first noted in 1854 as a distiller’s category which reflected the practice of mixing alcohols derived from different grains for industrial and other purposes.  Lindsay Lohan recommends wholegrain bread as part of a balanced diet.

Grain as a measure of mass: apothecaries and others

A grain is a unit of measurement of mass, and, for the troy grain, equal to exactly 64.79891 milligrams. It is nominally based upon the mass of a single seed of a cereal. From the Bronze Age into the Renaissance the average masses of wheat and barley grains were part of the legal definitions of units of mass.  The grain was the legal foundation of traditional English (and later imperial) weight systems, and is the only unit that is equal throughout the troy, avoirdupois, and apothecaries' systems of mass.  The unit was based on the weight of a single grain of barley, considered equivalent to one and one third grains of wheat.

In both British Imperial and U.S. customary units, there are precisely 7,000 grains per avoirdupois pound, and 5,760 grains per troy pound or apothecaries’ pound.  The grain is commonly used to measure the mass of bullets and propellants and the term also refers to a single particle of gunpowder, the size of which varies according to requirements.  In archery, the grain is the standard unit used to weigh arrows.  In dentistry, the gold foil used as a material to restore teeth is measured in grains.  The Historically, the 5-grain aspirin was the typical domestic dose while 7-grains was thought a strong does (and the guidance label on some bottles of aspirin still indicates the dosage is 325 mg (5 grains).  Though no longer recommended, grains are still used occasionally in medicine as part of the apothecaries' system, especially in prescriptions for older medicines such as aspirin or phenobarbital.  In that example the grain is approximated to 65 mg, though the grain can also be approximated to 60 mg, depending on the medication and manufacturer.  The apothecaries' system has gradually been replaced by the metric system, and the use of the grain in prescriptions is now rare.

In small-arms ammunition, the weight of the bullet is expressed in grains, a number often neglected which seems strange given weight affects (1) how a firearm recoils, (2) the trajectory of the bullet and (3) terminal ballistics (how the bullet behaves when striking a target).  As a general principle, a lighter bullet will achieve a higher speed which means it should maintain a straighter trajectory over a longer distance. However, a light bullet delivers less energy and is more susceptible to wind so it will tend to be blown off target more than something heavier.  For ultimate accuracy therefore, neither is absolutely preferable.  Nor is the grain count of necessity going to produce the same effect in every firearm because measures like calibre, muzzle energy and muzzle velocity all have an influence.  That was as true decades ago when the trend was towards smaller calibres as it is in the age of “bigger is better”.  In some cases, over some distances, a lighter bullet, moving faster, delivers more energy at the point of impact.  That’s one part of the equation but the math influences also the recoil.  It takes more energy to move a heavier bullet so, because for every action there should be an equal and opposite reaction, the heavier bullet should cause a greater recoil but, depending on the calibre and the firearm’s frame (some absorb more recoil), the lighter bullet might induce more recoil because more energy is thrust from the barrel, something further influenced by the propellant burn rate.

Woodgrain and not

Jaguar’s Mk X (1961-1966) and 420G (1966-1970) made extensive use of burl walnut woodgrain fittings.  It was one of the more atmospheric interiors of the post-war years.

The Facel Vega Facel II (1962-1964) was France’s finest car of the post-war years.  However, its lush looking “woodgrain” dashboard was actually painted metal.

Edulcorate

Edulcorate (pronounced ih-duhl-kuh-reyt)

(1) In the production of food and beverage, to sweeten.

(2) Figuratively, to make something more acceptable or palatable (in the figurative sense of that word).

(3) In chemistry, to free from acids, salts, or other soluble impurities by washing; to purify.

1800–1810: From the Medieval Latin ēdulcorāre & the New Latin ēdulcorātus, the construct being ē- (an alternative form of ex- (out of; from)) + the Late Latin dulcorātus (sweetened (past participle of dulcorāre)), the construct being the Latin dulcor (sweetness) + -ātus.  The Latin suffix -ātus was from the Proto-Italic -ātos, from the primitive Indo-European -ehtos.  It’s regarded as a "pseudo-participle" and perhaps related to –tus although though similar formations in other Indo-European languages indicate it was distinct from it already in early Indo-European times.  It was cognate with the Proto-Slavic –atъ and the Proto-Germanic -ōdaz (the English form being -ed (having).  The feminine form was –āta, the neuter –ātum and it was used to form adjectives from nouns indicating the possession of a thing or a quality.  Edulcorate, edulcorated & edulcorating are verbs, edulcorative is an adjective and edulcoration is a noun (the noun use of edulcorate is non-standard and is used casually in industry to refer to cleansing or sweetening agents in which case the (unattested) noun-plural would be edulcorates (ie the same as the third-person singular simple present)).

Edulcorating the already edulcorated.  Lindsay Lohan at the opening of the Magnum Pleasure Store, Covent Garden, London, July 2015: strawberry chocolate pearls & nuts over a freshly-dipped Magnum.  Never do in moderation what can be done in excess.

COVID-19 lockdowns and isolation induced many to take up the production of foods such as bread and pasta but there was also interest in wine-making.  It appears that like the amateur bakers, many home-based vintners were new to the business, taking advantage of suddenly available time to ferment, presumably to lower the cost the increased intake of alcohol lockdown seemed to encourage.  Shop-front stores supporting the hobby noted the most common request received was for products which could be used to edulcorate (sweeten) wine, it being common for the first bottle of a new batch to be too dry for the taste of many.  The excessive dryness in home-made wine happens because the process usually is to add wine yeast and leave the mix uninterrupted to ferment, unlike a commercial winery which will take a number of measurements during the fermentation process, stopping it when the desired sweetness is achieved.

A simple to use edulcorating agent is wine conditioner, something ideal for a home ferment.  Wine conditioner is a mix of non-fermentable sugar, water, and sorbate, an all-in-one solution for those interested in drinking their wine rather than making its production an art and it’s especially convenient because it’s best used immediately before bottling.  That’s because except for experts, no form of sweetener should be added prior bottling because wine noticeably will change from month to month when very young and thought it may seem too dry in the early days, it will often will mellow, even to the point where no edulcoration is required and a premature addition of conditioner can produce something excessively sweet.  Before adding the conditioner, manufacturers recommend re-racking to a new fermenting bucket or carboy to avoid stirring up sediment.  Add the wine conditioner a little at a time, stirring gently and waiting a few minutes before tasting.  It can be bottled at the point at which the desired taste is achieved; there is no right and wrong in this because it’s a matter of personal taste.

More challenging to use but offering the possibility of more complexity are red and white grape concentrates.  Unlike conditioners, grape concentrates contain fermentable sugars, thus a metabisulphite must first be used otherwise the yeast will be activated, fermenting the sugars and removing sweetness.  For this reason some wine makers add a second dose of metabisulphite to kill the remaining active yeast cells and both concentrates can be added just before bottling.  Pre-filtered, they leave no sediment and are mixed in to taste, just like the conditioner.  Obviously, the simple way to sweeten something is to add sugar but, except for experienced users, it’s not recommended because even if a metabisulphite is added, some active yeast may remain and because sugar is easily femented by yeast, carbonation can result.  It is though a quick solution and many skilled home users use nothing but sugar, again, adding a little at a time, stirring and bottling when the taste proves palatable.  Especially with fruit-based wines, packaged fruit juice is a handy agent because almost all contain preservatives (frequently metabisulphite) so they’ll be no ongoing fermentation and the process is the same: mix, stir and taste.

Whatever edulcoration method is used, for new wine makers the best approach to probably to try variations in the mix, noting on a tag or label attached to the bottle the quantity added.  This can be referred to when tasting the final result and the preferred method can then be replicated, always remembering no two batches are ever exactly identical but with each batch, wine makers learn to recognize implications of the variation, adjusting the edulcoration to suit.