Diagonal

Diagonal (pronounced dahy-ag-uh-nl or di-ag-nl (both uses U & non-U)

(1) In mathematics, connecting two nonadjacent angles or vertices of a polygon or polyhedron, as a straight line.

(2) In mathematics, a set of entries in a square matrix running either from upper left to lower right (main diagonal, or principal diagonal ) or lower left to upper right (secondary diagonal ).

(3) In number theory, as the broken diagonal, in the theory of magic squares, a set of n cells forming two parallel diagonal lines in the square.

(4) In linear algebra, as diagonal matrix, a matrix in which the entries outside the main diagonal are all zero.

(5) In geometry, extending from one edge of a solid figure to an opposite edge, as a plane (joining two nonadjacent vertices).

(6) In category theory, as diagonal morphism, a morphism from an object to the product of that object with itself, which morphism is induced by a pair of identity morphisms of the said object.

(7) Something with or assuming an oblique direction; having slanted or oblique lines or markings; having a slanted or oblique direction.

(8) In typography, a virgule (a slash), known also as a solidus (used in computing file systems variously as forward slash & back slash or slash & slosh (the generalized term the diagonal mark).

(9) In design, any line or pattern using diagonals; something put, set, or drawn obliquely.

(10) In fabrics, a cloth marked or woven with slanting lines or patterns

(11) In manège, of a horse at a trot, the state in which the foreleg and the hind leg, diagonally opposite, which move forward simultaneously.

(12) In zoological anatomy, of or related to the cater-corner (diagonally opposite) legs of a quadruped, whether the front left and back right or front right and back left.

(13) In chess, one of the oblique lines of squares on a chessboard (the mode in which a bishop may be moved).

1400s: From the Middle French diagonal From the Latin diagōnālis, the construct being the Ancient Greek διαγώνιος (diagṓn(ios)) (from angle to angle) + the Latin -ālis (the third-declension two-termination suffix (neuter -āle) used to form adjectives of relationship from nouns or numerals).  The construct of the Greek diagōnios, was dia- + γωνία (gōnía) (angle; corner), from the primitive Indo-European root genu- (knee; angle).  The dia- prefix was from the Ancient Greek prefix δια- (dia-), from διά (diá) (through, across, by, over) and was most productive, the familiar forms including diadem, diacritical, diagnosis, diagram, diameter, dialect, dialogue & diatribe.  The adjective diagonal (implied in diagonally) (extending as a line from one angle to another not adjacent) dates from the early fifteenth century and was from the Old French diagonal, from the Latin diagonalis, from diagonus (slanting line), from the Ancient Greek diagōnios.  It emerged as a noun in the 1570s in the sense of “a straight line drawn from one angle to or through another not adjacent, in a plane or solid figure".  The specific technical meaning in chess describes "a line of squares running diagonally across a board" and is the mode in which a bishop may move).  Diagonal is a noun & adjective, diagonality is a noun and diagonally is an adverb; the noun plural is diagonals.

Defying the tyranny of the horizontal line: Lindsay Lohan’s hand-written notes made during one of her court appearances in Los Angeles, July 2010.  Even on the Reddit subs where exist the planet’s most unforgiving critics, most were so taken with the neatness of the lettering, the diagonality attracted barely a comment.

A diagonal measurement is defined usually by describing a line between the bottom left and the upper right corners (or vice versa) of a square or rectangle.  It has a nuanced value when used of computer monitors, televisions and such because it has to be read in conjunction with the aspect ratio of the device.  A 19 inch (monitor sizes usually expressed in inches although the French will always include a metric conversion) monitor in a 16:9 aspect will be very different from a 19 inch 4:3 device.  In computing, what began in typography, as diagonal marks (the virgule (often called a slash of solidus (/) and the later “back slash (\)) are used in computing file systems to separate directories & sub-directories (now familiar as folders) from file names.  Under MS/PC-DOS, OS/2 & Windows, a file called myfile.txt to a sub-directory called text in a directory called user on D: drive would be displayed in the path D:\user\text\myfile.txt (although under DOS it would be in upper case).  The Windows crowd call these diagonal marks “back slashes” and the solidus they call “forward slashes” and they’re used for other purposes.  The Unix crew think this childish and insist a solidus is a “slash” and there’s no such thing as a back-slash which real people call a slosh.

Notable moments in diagonal (canted) headlamps

The one-off, 1938 Jaguar SS100 fixed head coupé (FHC) “Grey Lady” which demonstrates the traditional placement when four lights were used.

The inclination designers for decades felt to use a diagonal arrangement for headlights began innocently enough in the pre-war years when it emulated the usual practice of placing a pair of driving lamps or for lights inboard of the main headlamps and lower down, mounted typically on the bumper bar or its supporting brackets.  Most headlamps until the late 1930s were in separate housings, as were the auxiliary devices and even cars which integrated them into the coachwork adopted the same geometry.  This was due in part to the evolutionary nature of automobile styling which has often tried to avoid the “shock of the new” and in part to regulations, especially those which applied in the US.

Jaguar S-Type (1963-1968, left), Vanden Plas Princess R (1964-1968, centre) and Volvo 164 (1968-1975, right).

Although most would regard the technique which essentially integrated the driving lamps/fog lamps into the coachwork as just a variation on the diagonal theme, professional designers insist not; they say this is just wrapping enveloping bodywork around an existing device.  Also, the professionals prefer the term “canted headlamps” because “diagonal” has a more precise definition in mathematics.

Rover 3.5 Coupé (P5B 1967-1973, left) and Packard Coupe (1958) (right)

While the US manufacturers usually re-tooled in 1957-1958 after regulations had been changed to allow quad head-lamps, the British were often fiscally challenged and needed to continue to use existing sheet metal.  A design like the Vanden Plas Princess R (and the companion Wolseley 6/99 & 6/110 (1959-1968)) has sufficient space to allow the diagonal placement but the Rover P5 (1958-1967) with its wider grill precluded the approach so the expedient solution was to go vertical.  Although obviously just “bolted on”, such was the appeal of the P5B it just added to the charm.  It could have been much worse because less charming was the 1958 Packard Coupe, produced by Studebaker-Packard, the company an ultimately doomed marriage of corporate convenience which seemed at the time a good idea but proved anything but. Studebaker-Packard lacked the funds to re-tool to take advantage of the rules allowing four head-lamps but without the feature their cars would have looked even more hopelessly outdated than they anyway did so cheap fibreglass “pods” were produced which looked as “tacked on” as they were.  They were the last Packards made and Studebaker’s demise followed within a decade.

1963 Zunder

The Zunder ("spark" in German) was produced in Argentina between 1960-1963 and used the power-train from the Porsche 356.  The body was fashioned in fibreglass and was one of the many interesting products of the post war industry in Brazil and Argentina, the history of which is much neglected.  By the standards of time, it was well-built but as a niche product, was never able to achieve the critical mass necessary to ensure the company’s survival and production ceased in 1963 after some 200 had been built.

Buick Electra 225 (First generation 1959–1960, left) and (Lincoln) Continental Mark III (1958-1960, right).  The Buick adopted horizontal headlamps in 1960.

In the late 1950s, most US manufacturers did have cash to spend and the industry spirit at the time was never to do in moderation what could be done in excess although by comparison with the Lincoln, the Buick verged on the restrained.  Tellingly, the Buick sold well while the Continental was such a disaster Ford considered sending Lincoln to join Edsel on the corporate scrapheap and the nameplate was saved only because it was possible at low cost to re-purpose a prototype Ford Thunderbird as the new Continental.  Rarely has any replacement been such a transformation and the 1961 Continental would influence the design of full-sized American cars for twenty years.  It used horizontally mounted head-lamps.

1961 Chrysler 300 G.

Chrysler’s “Letter Series 300” (1955-1965) coupes and convertibles were the brightest glint in the golden age in which Detroit’s power race was played out in the big cars, an era which would be ended by the introduction of the intermediates and pony cars in the 1960s.  The 300G (1961) was visually little changed from the previous year’s 300F but the simple change to diagonal headlamps was transformative.  There were those who didn’t like the look but generally it was well received and as a first impression, the feeling might have been Chrysler had mastered the motif in a way the Continental Mark III proved Ford just didn’t get it.

1961 DeSoto Adventurer (left), 1962 Dodge Dart (centre) and 1963 Dodge Polara (right).

However, Chrysler’s designers in the early 1960s may have decided they liked diagonal headlamps which was good but seemingly they liked them so much they though the buyers should be offered as many permutations of the idea as could be made to work on a production line.  What’s remarkable is not that the public didn’t take to the approach but that it took the corporation so long to admit the mistake and try something more conventional.  Just to hedge their bets, while Dodge, Plymouth and DeSoto all had headlamps mounted at an obvious degree of cant, on the Chryslers the effect was so subtle one really needed to hold a spirit level to the front end to confirm there was an slant, albeit one imperceptible to the naked eye.  The one division which never were the diagonal way was the Imperial but it’s headlamp treatment was more bizarre still.

1961 DeSoto styling proposal (September 1958) for the 1961 range.

For DeSoto, things could have looked worse even than they did, some of the implementations of the diagonal motif which went as far as clay models or actual metal prototypes so bizarre one wonders what external influences were being studied (or inhaled).  As it turned out, 1961 would be the end of the line for DeSoto, a nameplate which had been successful as recently as the mid 1950s.  Its demise was little to do with diagonal head-lamps (though they didn’t help) but a product of Chrysler’s other divisions expanding their ranges up and down, encroaching on a market segment DeSoto once found so lucrative.  The phenomenon was a harbinger of the eventual fate of marques like Mercury, Pontiac, Oldsmobile and Plymouth.

Clockwise from top left: Fiat 8V (1952-1954), Gordon-Keeble GK-1 (1961-1967), Jensen C-V8 (1962-1966) and Triumph Vitesse (1962-1971).

Perhaps surprisingly, the French majors were never enamored, presumably because Citroën and Renault didn’t like to be imitative and Peugeot were too conservative.  Some of the Europeans did dabble with the idea, embracing it as an expression of modernity although the then radical treatment of the head-lamps sometimes struck a discordant note when they were grafted onto something where the rest of the platform was so obviously from one or two generations past.  Fiat’s exquisite 8Vs didn’t all get the diagonal look but those which did remain the most memorable of the few of the breed built.  An unqualified aesthetic success was the Gordon-Keeble built to aviation standards and powered by a Chevrolet V8.  It deserved to succeed but floundered as much of the British industry did in the era because of a lack of capitalization and an accounting operation which didn’t match the quality of the Engineering.  More successful was the Jensen C-V8 but while the distinctive front end now makes it much prized by collectors, at the time it was less admired and its very presence served only to emphasize how antiquated the rest of the styling had become.  For its replacement, Jensen tuned to an Italian styling house and the Interceptor, introduced in 1966 and remembered for the vast expanse or rear glass, is now thought a classic of the era.  The one which sold best was the Triumph Vitesse, one of a number of variations built on the robust and versatile separate chassis of the Herald (1959-1971) including the Spitfire and GT6.  Somewhat the BMW M3 of its day, the Vitesse’s front end actually lived on in India (though without the lusty six cylinder engines) but curiously, the inner headlights weren’t fitted.

Gilding the lily: The Lancia Fulvia coupé (1965-1976) before & after.

The lovely, delicate lines of the Lancia Fulvia were perfect and really couldn’t be improved.  The unfortunate facelift with the canted lights was no improvement.

Dagger

Dagger (pronounced dag-er)

(1) A short, double-edged weapon with a pointed blade and a handle, used historically for personal protection in close combat (although some were weighted for throwing), but since the development of side-arms, increasing only for ceremonial purposes (many produced without sharpened edges).

(2) In typography a mark (†) used to indicate a cross reference, especially a footnote (also called obelisk).  The double dagger (‡) is also used.

(3) In sport and military strategy, a offence which thrusts deep into opposition territory on a short front.

(4) In glaciology, the long, conical ice-formations formed from drops of water (al la the stalactites in caves).

(5) In the slang of clinical medicine, anything that causes pain like a stabbing injury (typically, some sort of barb)

(6) In basketball & American football, a point scored near the end of the game (clutch time) to take or increase the scorer's team lead.

(7) In nautical architecture, as daggerboard, a retractable centre-board that slides out to act as a keel; a timber placed diagonally in a ship's frame.

(8) To stab with a dagger or similar bladed weapon (archaic).

(9) In typography, to mark with a dagger (obelisk).

1380s: From the Middle English daggere, daggare & dagard, probably an adaptation from the thirteenth century Old French dague (dagger), from the Old Provençal or Italian daga of obscure origin but related to the Occitan, Italian & Spanish daga, the Dutch dagge, the German Degen, the Middle Low German dagge (knife's point), the Old Norse daggarðr, the Danish daggert, the Faroese daggari, the Welsh dager & dagr, the Breton dac and the Albanian thikë (a knife, dagger) & thek (to stab, to pierce with a sharp object).  Etymologists have speculated on the source of dagger, some suggesting a Celtic origin.  Others prefer the unattested Vulgar Latin daca & dacian (knife) (the name from the Roman province), from the Classical Latin adjective dācus while an entry in an eighteenth century French dictionary held the French dague was from the German dagge & dagen (although not attested until much later).  More speculatively still is the notion of some link with the Old Armenian դակու (daku) (adze, axe), an alternative to which is some connection with the primitive Indo-European dāg-u-, suggesting something cognate with the Ancient Greek θήγω (thḗgō) (to sharpen, whet).  Dagger is a noun & verb, daggering is a noun & verb, daggerman & daggerpoint are nouns, daggerlike is an adjective and daggered is a verb; the noun plural is daggers.

Daggers drawn: Lindsay Lohan and Vanessa Lachey (née Minnillo, b 1980), staged shot, June, 2007.

The association of the dagger with knightly weaponry can be traced back to French writings in the twelfth century while the other Middle Latin forms included daga, dagga, dagha, dagger, daggerius, daggerium, dagarium, dagarius & diga (the words with the -r- being late fourteenth century adoptions of the English word.  The Oxford English Dictionary (OED) lists an English verb dag (to stab) from which dagger as a verb could be derived but the verb is attested only from the turn of the fifteenth century.  Long used as a weapon of personal protection, skilled sixteenth & seventeenth century swordsmen would use one in their other (usually left) hand to parry thrusts from the opponent's rapier.  It was a high-risk technique.  The use in texts as a reference mark (also called the obelisk) dates from 1706.  The wonderfully named “bollock dagger” was a dagger with a distinctively shaped shaft having two oval swellings at the guard resembling the male testes.  The polite term was “kidney dagger”.  An “ear dagger” was used in the late medieval period and gained the name from its distinctive, ear-shaped pommel.  In slang, to be “stabbed with a Bridport dagger” was to be executed by hanging, the origin of that being the district of Bridport in Dorset being a major producer of the hemp fibre used in the production of the ropes used by hangmen.  In idiomatic use, to “look daggers at” is to stare at someone angrily or threateningly, something one would do if “at daggers drawn” (in a state of open hostility) with them.

Lindsay Lohan in stiletto heels, February 2009.  Whether much would have changed in the fashion business if the style of heel had come to be known as "dagger" instead of "stiletto" is unlikely.

Other names for the short bladed weapon included stiletto & poniard.  Stiletto was from the Italian stiletto; doublet of stylet, the construct being stil(o) (dagger or needle (from the Latin stilus (stake, pens))) + -etto (-ette).  From the Latin stilus came also stelo, an inherited doublet.  Stilus was from the primitive Indo-European (s)teyg- (related to instīgō & instigare) and was cognate with the Ancient Greek στίζω (stízō) (to mark with a pointed instrument) and the Proto-Germanic stikaną (to stick, to stab).  Despite the similarity, there’s no relationship with the Ancient Greek στῦλος (stûlos) (a pillar).  The -etto suffix was from the Late Latin -ittum, accusative singular of –ittus and was an alternative suffix used to form melioratives, diminutives and hypocoristics.  The noun plural is either stilettos or stilettoes and stilettolike (appearing also as stiletto-like) is an adjective.  A technical adoption in law-enforcement and judicial reports were the verb-forms stilettoed & stilettoing, referring to a stabbing or killing with a stiletto-like blade.  It was a popular description used by police when documenting the stabbing by wives of husbands or boyfriends with scissors or kitchen knives; use faded in the early twentieth century.  The use of “stiletto heel” to describe the elegant, narrow high heel in women's shoes dates from as recently as 1953.  Poniard (a dagger or other short, stabbing weapon) dates from the 1580s and was from the early sixteenth century French poinard, from the Old French poignal (dagger (literally “anything grasped with the fist”)), from poing (fist), from the Latin pungus (a fist (a pugio being “a dagger”)), from a suffixed form of the primitive Indo-European root peuk- (to prick).  It’s thought it was probably altered in French by association with poindre (to stab).  It was used a verb from the turn of the seventeenth century in the sense of “to stab with or as if with a poniard”.

Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) in Luftwaffe Field Marshal’s uniform with baton and sword (1938, left) and in Luftwaffe General’s uniform with ceremonial dagger (right).  The baton would be replaced with an even more extravagant, jewel-encrusted creation when in 1940 he was appointed Reichsmarschall and it's now on display in the US Army's West Point Museum at Highland Falls, New York.  Convicted of war crimes and crimes against humanity, Göring was hanged in 1946. 

The dagger shown (right) is a standard 1935 issue for Luftwaffe officers.  Updated in 1937 and fashioned always with a 260 mm (10¼ inch) blade, the pommel and crossguard were aluminum, bearing the swastika (occasionally finished in anodized gold) on the pommel face with a Luftwaffe flighted eagle and swastika on the crossguard.  The grips were celluloid over a word base and in various production runs they were finished in colors ranging from pure white to a deep orange.  The scabbards were all in anodized grayish blue steel with a striped decoration on the body face with an oak leaf pattern on the face of the drag.  Worn suspended from straps bearing twin silver stripes on a dark grayish blue background with square buckles, it featured a short aluminum cord knot.  In an example of the expanding list of recipients entitled to wear a dagger, after 1940, authorization was extended to non-commissioned officers though without the portepee (the sword-knot which denoted an officer’s right to bear a sword).  The sword word by Göring (left) was a bespoke one-off manufactured by the Eickhorm company to mark his wedding on 10 April 1935.  The pommel was engraved with a facsimile of the Pour Le Merite (the “Blue Max”) Göring was awarded during his service as a pilot with the Jagdgeschwader 1 (better remembered as Manfred von Richthofen’s Flying Circus).

Germans have long adored uniforms and especially prized are the accessories, among the most distinctive of which are ceremonial daggers.  During the Third Reich, a period in which many institutions of state were increasingly re-ordered along military lines, the issuing of ceremonial daggers was at its most widespread and in addition to the expected recipients in the army, navy & air force, the SS, the SA, the Hitler Youth, the diplomatic service and the police, they were also part of the uniforms of organizations such as the fire department, the postal & telegraph service, the forest service, the labor service, the customs service the railway & waterways protective service and the miners association.  While it’s true that in Germany daggers had in the past been issued even to civilians, under the Nazis the scale and scope proliferated.

Masonic daggers.

Among their many mysterious rituals, the Freemasons also have their own lines of daggers which they claim are purely “ceremonial” but because all that they do is so shrouded in secrecy, the true nature of their purpose isn’t known.  It is however believed that the styles of daggers conferred reflect the grades and offices which evolved from the medieval craft guilds and presumably, the more exalted one’s place in the Masonic hierarchy, the more elaborate the dagger to which one is entitled.  Top of the pile in a Masonic Lodge is the Worshipful Master, other intriguing titles including Senior Warden, Junior Warden, Chaplain, Senior Deacon, Junior Deacon, Steward, Tyler, Mentor and Almoner.  Whether all get their own daggers or some share with others are among the many mysteries of Freemasonry.  Of the even more opaque Secret Society of the Les Clefs d’Or, nothing is known about whether their rituals include the use of daggers, ceremonial or otherwise.

Eftsoons

Eftsoons (pronounced eft-soonz)

(1) Once again; another time (obsolete).

(2) Soon after, presently (archaic).

Pre 1000: From the Middle English eftsone, from the Old English eftsona (eft sōna) (second time, repeatedly, soon after, again (literally “afterwards soon”)).  The construct was eft (afterward, again, a second time), from the Proto-Germanic aftiz, from the primitive Indo-European root apo- (off, away) +‎ sona (immediately) +‎ -s (the the adverbial genitive) and both senses in which the word was used derive from those attached to eft, which was related to “after”.  Eftsoons is an adverb.

Were it not for the frequency with which Samuel Taylor Coleridge’s (1772-1834) Rime of the Ancient Mariner (1798) has appeared in print and latterly on-line, “eftsoons” may have been more unknown even than it is and in over 600 lines, the poet used it just the once (in line 12).

It is an ancient Mariner,
And he stoppeth one of three.
'By thy long grey beard and glittering eye,
Now wherefore stopp'st thou me?
 
The Bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
May'st hear the merry din.'
 
He holds him with his skinny hand,
'There was a ship,' quoth he.
'Hold off! unhand me, grey-beard loon!'
Eftsoons his hand dropt he.
 
He holds him with his glittering eye—
The Wedding-Guest stood still,
And listens like a three years' child:
The Mariner hath his will.

Opening four stanzas, Rime of the Ancient Mariner (1798) by Samuel Taylor Coleridge.

It’s certainly rare and etymologists draw a technical distinction between the meaning eftsoons enjoyed between the eleventh & seventeenth centuries (once again; another time) which is listed as obsolete while the sense which began after the thirteenth to run in parallel (soon after, presently) is regarded as merely archaic and it’s the occasional use of the latter which means it’s never quite gone extinct.  Coleridge aside however, the more rigorous arbiters of the way English should be used have seldom approved of the deliberate revivals of archaic forms, especially ones where the meaning is unlikely to be known by many.  Henry Fowler (1858–1933) in his A Dictionary of Modern English Usage (1926) decried such vocabular flashiness as a “pride of knowledge”, describing it as “a very un-amiable characteristic and the display of it sedulously should be avoided”.  He underlined his disapprobation by mentioning some of the most “disagreeable” types including “Gallicisms, irrelevant allusions, literary critics’ words & novelty hunting”.  So, use has been rare since the mid-eighteenth century and the only objective reason it faded was probably simply that to say “eftsoons” rather than “soon” was just one syllable too many and speakers of English (if not the Romantic poets) being a lazy lot, the word which took the least effort prevailed.

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

There’s also the matter of whether William Shakespeare (1564–1616) actually used the word, his imprimatur a thing of significance. It does appear once in Pericles, Prince of Tyre (1608) but scholars have decided it was not all his own work and that he wrote only acts 3 & 4 and it’s in Act 5, Scene 1 that eftsoons makes its one appearance.  The first two acts have variously been attributed, including to one who was, inter alia, the keeper of a brothel, so for those whose pride of knowledge extends to that, when searching for a precedent, they would probably prefer to cite Coleridge.  Still, even though it wasn’t included in the First Folio (1623) and did not appear in any compilation until the Third Folio (1664), it was one of the seventeen plays in print during Shakespeare's life and was republished several times between 1609-1635.  It's certainly part of the canon.

Chorus V: On board Pericles' ship, off Mytilene.

Pericles:

My purpose was for Tarsus, there to strike
The inhospitable Cleon; but I am
For other service first: toward Ephesus
Turn our blown sails; eftsoons I'll tell thee why.

[To Lysimachus]

Shall we refresh us, sir, upon your shore,
And give you gold for such provision
As our intents will need?

Lysimachus:

Sir,
With all my heart; and, when you come ashore,
I have another suit.

Pericles:

You shall prevail,
Were it to woo my daughter; for it seems
You have been noble towards her.

William Shakespeare, Pericles, Prince of Tyre, Act 5, Scene 1.

Silk

Silk (pronounced silk)

(1) The soft, lustrous fibre obtained as a filament from the cocoon of the silkworm.

(2) Thread or cloth made from this fibre.

(3) In law, a slang term to describe a Queen's or King's Counsel and the silk gown they wear in court (UK & Commonwealth).

(4) In arachnology, very fine fibre produced by a spider to build its web, nest, or cocoon

(5) In agriculture, the tuft of long fine styles on an ear of maize (corn).

(6) In computing (as SiLK), Skype’s 2009 audio codec.

(7) In sport, a slang term for the working uniforms of both pugilists and jockeys.

(8) In fashion, a clipping of "silk stockings".

Circa 1300: From the Old English seoloc & sioloc (silk, silken cloth), from the Latin sericum (plural serica) (silken garments, silks) which translates literally as "Seric stuff," neuter of sericus, from the Ancient Greek sērikón (silken), derived from an oriental people of Asia from whom the Greeks got silks.  Western cultivation began 552 AD when Byzantium spies disguised as monks smuggled silkworms and mulberry leaves out of China, an early example of industrial espionage and the theft by the west of intellectual property from China; these things have a long tradition.  The Old English deoloc & sioloc were cognate with the Old Norse silki but the mode of transmission from the Ancient Greek sērikón is uncertain.  Greek picked up the word from Chinese, as a derivative of sêres, probably as a derivative of the Chinese si (silk) although some scholars cite both the Manchurian sirghe and the Mongolian sirkek as a possible root but this is speculative.  It’s found also in Old Norse as silki but not elsewhere in Germanic.  The more common Germanic form is represented by the Middle English say, from Old French seie; the Spanish seda, the Italian seta, the Dutch zijde and the German seide are from the Medieval Latin seta (silk), perhaps elliptical for seta (serica) or else a particular use of seta in the sense of "bristle or hair".

Silk was used as an adjective from the mid-fourteenth century.  The reference to the "hair" of corn is from 1660s American English while the figurative use of silk-stocking is from the 1590s.  It was once used as a pejorative adjective meaning "wealthy", attested from 1798 as a reference to silk stockings, especially when worn by men as extravagant, reprehensible and suggestive of effete habits.  Silk-screen was first used in 1930; in English, the ancient “Silk Road” was first so-called in 1931, a use revived in the twenty-first century as a place on the dark web which was a clearing house for those selling narcotics, other unlawful stuff and (allegedly) contract killing, the latter never verified.  Silk is a noun & verb, silky is a noun & adjective, silkiness is a noun and silken is a verb & adjective; the noun plural is silks.

Silks

Lindsay Lohan in Catherine Malandrino silk pin-tuck dress with bubble skirt (2008).

In the early years of the common law, the barristers known as serjeants-at law enjoyed precedence in court.  That remained until 1596, when Francis Bacon (1561–1626) prevailed upon Elizabeth I (1533–1603; Queen of England & Ireland 1558-1603) to create him Queen's Counsel Extraordinary (QC), a new office which granted him precedence over the Serjeants although that legal hierarchy wasn’t confirmed for some years.  Initially an appointment by virtue of the royal prerogative, it was formalised by the issue of letters patent in 1604 but the numbers of KCs & QCs remained exclusively small until the nineteenth century.  The office of KC ensured the obsolescence of the once senior serjeants-at-law by (gradually) superseding them.  The attorney-general and solicitor-general had similarly supplanted the serjeants as leaders of the bar in Tudor times but, interestingly, were not technically senior until 1623 (except for the two senior King's Serjeants) and 1813 respectively.  In the Commonwealth, whenever a King replaces a Queen, the QCs become KCs (or the other way around as the case may be.  QCs & KCs wear silk gowns when appearing in court and their appointment is known informally as "taking silk"; individually, they are often referred to as "silks".

Japanese silkworm farmers.

Silk was of great cultural significance in Japan and among the military and the aristocracy, were one to be presented with a dagger wrapped in silk, it was a suggestion from one's peers that, having committed some social or other transgression, it would be the honorable thing were one to commit an act of 切腹 (Seppuku (literally "cutting [the] belly"), the ritualistic method of suicide by disembowelment and and better known in the West as hara-kiri (腹切り(literally "abdomen or belly cutting")).  It had a long tradition but apparently was never as widespread as is often depicted by Hollywood, always anxious to believe the orientalists. 

By the 1920s, the backbone of Japanese agriculture was rice, “the king of grains” and, in aggregate terms, the nation’s industry was the most productive in the world despite a great volume of the harvest coming from the efforts of peasants who worked tiny rural plots which Rudyard Kipling (1865–1936) on a visit noted they tended with “comb and toothpick”.  The other crop on which they relied was the one regarded as the “God-sent merchandize” of raw silk, the silkworm styled “the honourable little gentleman”.  In the good years of the late 1920s, this meant stability but the Wall Street crash of 1929 which was the trigger (though not wholly the causative event) of the long slump of the 1930s affected Japan more immediately and more severely than just about anywhere; having few natural resources, the country was reliant on international trade and thus exposed as few others to movements in commodity prices.  In 1930, the rice harvest fetched a third less than the year before and the collapse in the silk trade was even more dramatic because the rayon produced in vast quantities by the US petro-chemical concerns flooded the market, undercutting the work of the the honourable little gentleman and the hard-working peasants who tended to him so assiduously.  The resulting immiseration of much of the anyway poor rural population of Japan was one of the factors which enabled certain military factions essentially to stage a (not quite bloodless) takeover of the Japanese state and in 1931 begin the aggressive overseas expansion which some fifteen years later would end in the atomic bombing of Hiroshima and Nagasaki. 

Pontiff

Pontiff (pronounced pon-tif)

(1) In historic pagan use, any pontifex, high or chief priest.

(2) In historic ecclesiastical use, a bishop.

(3) In modern use, the Roman Catholic Pope, the Bishop of Rome.

1600–1610: From the Middle French pontife, from the Latin pontifex.  The form "pontiff" which emerged in the early 1600s preserved the earlier (pagan) meaning "high priest", from the French pontif, also ultimately from the Latin pontifex (a title used by a Roman high priest).  It was used to refer to the office of bishop in Church Latin but appears not to have been recorded in that sense in English until the 1670s and then, only specifically to "the Bishop of Rome" (ie the Roman Catholic Pope), the Roman Catholic Pope. Pontifical was however used in that sense from the mid fifteenth century but it's now exclusively an alternative name for a pope.  Not any pope however; it’s never used with reference to the Coptic Pope.  The Latin pontifex meant literally “bridge builder”, the construct being pōns (bridge) +‎ fex (suffix representing a maker or producer).  It was used as a title for some of the more senior pagan priests of Ancient Rome, the consensus being it was adopted as a metaphorical device to suggest “one who negotiates between gods and men” although at least one scholar of antiquity suggested the relationship was close to literal in that the social class which supplied the priests was more or less identical with engineers responsible for building bridges.  That may seem more a sociological than theological point but for structural functionalists and other realists, such distinctions seem a bit naff.

Pontifical promotion: Lindsay Lohan in 2019 flirted with an eternity in Hell by purloining a picture of Pope Francis to promote her song Xanax.  The image was taken in 2013, during a visit to the National Shrine of Our Lady Aparecida in Brazil while he was conducting communion.  Captioned “Blessed be the Fruit”, the meme has a digitally altered image of Francis holding up a copy of her debut album Speak (2005) and in the language of the MBAs would probably be classified as a kind of “ambush marketing”.  The prospect of damnation must have been considered but when one has a dropped tune to promote, risks must be taken.

Theodosius I (347–395) was the last Roman Emperor (379-395) to rule both the eastern and western "halves" of the Roman Empire.  Once, on his travels he fell so ill that death seemed inevitable but, upon being baptised, he staged an astonishing recovery and reached Constantinople a devout Christian.  Immediately he set about removing the last vestiges of paganism from the Empire.  It wasn’t the first imperial intervention against paganism.  Earlier, the Emperor Gratian (359–383) had refused the traditional title Pontifex Maximus (chief priest of the state religion) because his bishop thought it unworthy for a Christian emperor to accept a pagan honour, even though it had been worn by emperors since Constantine (circa 272–337).  However, although the Church may have disapproved of pagan baubles for others, by 590, Pope Gregory I (circa 540–604) decided it was fine for him and granted it to himself, explaining a pope was the “…chief priest of Christianity” and that Constantine had claimed to be the “bishop of bishops”, a role long since assumed by popes.  It’s from here the word pontiff evolved into its modern form.

Pope Pius VIII (1761-1830) being carried in Saint Peter's on the Sedia Gestatoria (circa 1825), wearing the papal triple tiara (triple crown) by Emile Jean Horace Vernet (1789-1863).

The sedia gestatoria (gestatorial chair, literally translated from the Italian as "chair for carrying") was the ceremonial throne on which the Pope, pontiff of the Roman Catholic Church, was carried on shoulders of courtiers.  An enlarged and elaborate version of the sedan chair, it was constructed with a silk-covered armchair attached to a suppedaneum, on each side of which were two gilded rings; through these passed the long rods with which twelve palafrenieri (footmen) carried the chair on their shoulders.  With origins in antiquity, the sedia gestatoria was for almost a millennium used to convey popes during the grandest of ceremonial occasions in the Basilica of St John Lateran & St Peter's Basilica and, beyond the Holy See, somewhat less grand sedia gestatoria were used by cardinals and others, given sometimes with the blessing of the pope as an expression of especial favor.  Used also by Byzantine emperors, the concept and much of the design was borrowed from the sedias of the Roman Empire although there, use was a little less exclusive, high officials as well as emperors enjoying the distinction and some fun was made of rich individuals (who held no public office) arranging their own.

Pope Benedict XVI in Popemobile passing 1600 Pennsylvania Avenue (the White House), Washington DC, April 2008.  This Popemobile was based on a Mercedes-Benz ML 430 (W163), powered by a 4.3 litre (260 cubic inch) V8 (M113).

For their public appearances, popes have been driven a variety of vehicles ranging from a Leyland truck to a Ferrari Mondial Cabriolet (1982-1993), the latter believed to be the fastest of the Popemobiles.  Although most associated with the need to provide protection against assassination, the Popemobiles replaced the sedia gestatoria because, although trips such as Benedict's to White House would have been possible with the traditional chair carried by a dozen, attractive young palafrenieri, it would have been time-consuming.  Pope John Paul I (1912–1978; pope August-September 1978) was the last to use the sedia gestatoria and even he had resisted, preferring to walk, acceding only because without the elevated platform, his visibility to the crowd and the television cameras would be so limited.  Pope John Paul II (1920–2005; pope 1978-2005), the first non-Italian pontiff in over four-hundred years, vetoed the idea of being carried on shoulders and alternatives were created, evolving into the increasingly armored Popemobiles.  The sedia gestatoria thus joined the papal tiara (triple crown) on the shelf of the retired symbols of the church of a grander age.

The Triple Tiara

Sultan Süleyman the Magnificent (circa 1545), woodcut by an unknown Venetian artist.  Historians suspect the depiction of the splendid jewel-studded helmet was substantially accurate but the object may simply have been too heavy safely to wear for all but static, set-piece events, the risk of injury to the neck too great.

The papal triple tiara is a crown which has been worn by popes of the Roman Catholic Church since the eighth century.  Traditionally it was worn for their coronation but no pontiff has been so crowned since Saint Paul VI (1897-1978; pope 1963-1978) in 1963 and he abandoned its use after the Second Vatican Council (Vatican II, 1962-1965).  The name tiara refers to the entire headgear and it has used a three-tiered form since a third crown was added during the Avignon Papacy (1309–1378).  It's also referred to as the triregnum, triregno or Triple Crown.  In a piece of one- (or perhaps four-) upmanship, Suleiman I (Süleyman the Magnificent, 1494-1566, Sultan of the Ottoman Empire 1520-1566) commissioned from Venice a four tier helmet to show, in addition to the authority claimed by popes, he could add the symbol of his imperial power.  Often put on display as the centrepiece of Ottoman regalia to impress visitors, there's no documentary evidence the sultan ever wore the four layer tiara, crowns not part of the tradition and, fashioned from gold and gemstones, it would anyway have been extraordinarily heavy.

A representation of the triregnum combined with two crossed keys of Saint Peter continues to be used as a symbol of the papacy and appears on papal documents, buildings and insignia.  Remarkably, there’s no certainty about what the three crowns symbolize.  Some modern historians link it to the threefold authority of the pope, (1) universal pastor, (2) universal ecclesiastical jurisdiction and (3) temporal power.  Others, including many biblical scholars, interpret the three tiers as meaning (1) father of princes and kings, (2) ruler of the world and (3) vicar of Christ on Earth, a theory lent credence by the words once used when popes were crowned:  Accipe tiaram tribus coronis ornatam, et scias te esse patrem principum et regum, rectorem orbis in terra vicarium Salvatoris nostri Jesu Christi, cui est honor et gloria in saecula saeculorum (Receive the tiara adorned with three crowns and know that thou art father of princes and kings, ruler of the world, vicar on earth of our Savior Jesus Christ, to whom is honor and glory for ever and ever).

Documents in the Vatican Archive suggest by 1130 the papal tiara had been modified to become a conventional (and temporal) symbol of sovereignty over the Papal States.  In 1301 during a dispute with Philip IV (Philip the Fair, 1268–1314, King of France 1285-1314), Pope Boniface VIII (circa 1230–1303; pope 1294-1303) added a second layer to represent a pope’s spiritual authority being superior to an earthly king’s civil domain.  It was Benedict XII (1285–1342; pope 1334-1342 (as the third Avignon pope)) who in 1342 who added the third, said to symbolize the pope’s moral authority over all civil monarchs, and to reaffirm Avignon’s possession.  A changing world and the loss of the Papal States deprived the triple crown of temporal meaning but the silver tiara with the three golden crowns remained to represent the three powers of the Supreme Pontiff: Sacred Order, Jurisdiction and Magisterium.

Pope Pius XII (1876-1958; pope 1939-1958) in the papal triple tiara, at his coronation, 1939.

Not since 1963 has a pope worn the triple crown.  Then, the newly-elected Pope Saint Paul VI, at the end of his coronation, took the tiara from his head and, in what was said to be a display of humility, placed it on the altar.  In a practical expression of that humility, the tiara was auctioned; the money raised used for missionary work in Africa although, keeping things in house, the winning bidder was the Archdiocese of New York.  Popes Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) and Francis (b 1936; pope since 2013) received tiaras as gifts but neither wore them.  Benedict’s, in a nice ecumenical touch, was made by Bulgarian craftsmen from the Orthodox Church in Sofia, a gesture in the name of Christian unity.  Benedict would have appreciated that, having always kept a candle burning in the window to tempt home the wandering daughter who ran off to Constantinople.

Lindsay Lohan, the wandering daughter who ran off to Dubai in Lynn Kiracofe tiara, W Magazine photo- shoot, April 2005.