Cat

Cat (pronounced kat)

(1) A small domesticated carnivore, Felis domestica or F. catus, bred in a number of varieties.

(2) Any of several carnivores of the family Felidae, as the lion, tiger, leopard or jaguar.

(3) A woman given to spiteful or malicious gossip (archaic).

(4) In historic Admiralty jargon, the truncated term for the cat-o'-nine-tails, a whip used to administer corporal punishment on ships at sea.

(5) A contraction of generalized use in words staring with cat (category, catboat, catamaran, catfish, catapult, catalytic et al).

(6) In nautical use, a tackle used in hoisting an anchor to the cathead.

(7) A double tripod having six legs but resting on only three no matter how it is set down, usually used before or over a fire.

(8) In medieval warfare, a movable shelter for providing protection when approaching a fortification.

(9) In aviation, the acronym for clear-air-turbulence.

(10) In medical diagnostics, the acronym for computerized axial tomography.

(11) In computing, the acronym for computer-aided teaching and computer-assisted trading

Circa 700:  From the Middle English cat or catte and the Old English catt (masculine) & catte (feminine).  It was cognate with the Old Frisian and Middle Dutch katte, the Old High German kazza, Old Norse köttr, Irish cat, Welsh cath (thought derived from the Slavic kotŭ), the Russian kot and the Lithuanian katė̃; the Old French chat enduring.  The curious Late Latin cattus or catta was first noted in the fourth century, presumably associated with the arrival of domestic cats but of uncertain origin.  The Old English catt appears derived from the earlier (circa 400-440) West Germanic form which came from the Proto-Germanic kattuz which evolved into the Germanic forms, the Old Frisian katte, the Old Norse köttr, the Dutch kat, the Old High German kazza and the German Katze, the ultimate source being the Late Latin cattus.

The prefix meaning “down, against or back,” occurred originally in loanwords from the Greek (cataclysm; catalog; catalepsy) and on the basis this model, was used in the formation of other compound words such as catagenesis or cataphyll.  The source was the Greek kata, a combining form of katá (down, through, against, according to, towards, during).  A most active prefix in the Ancient Greek, in English it’s found mostly in Latin words borrowed after circa 1500.  As applied, the meanings from the Greek attached to the constructs: down (catabolism), away, off (catalectic), against (category), according to (catholic) and thoroughly (catalogue).  In Byzantine Greek, spelling was katta and by circa 700 the variations were in universal European use, the Latin feles almost wholly supplanted.

In the literature, a Latin root is cited because it’s documented but, linguists suggest ultimate source was probably Afro-Asiatic, noting the Nubian kadis, and Berber kadiska, both of which meant "cat" and the Arabic qitt (tomcat) may be from the same source.  Despite that, in English, meaning extended to the big cats (lions, tigers etc) only after circa 1600.  In the early thirteenth century, it was used as a term of disapprobation for women, used sometimes as a synonym for prostitute.  In African-American use, it was a way of referring to one’s own or other cohorts while the application to jazz musicians or their audience emerged in the 1920s, both being adopted as part of the language of the counter-culture in the 1960s, the latter phase without the earlier racial specificity.

Phrases associated with the cat o’ nine tails

The cat o’ nine tails ("the cat" in the vernacular), was a short whip used to administer corporal punishment in the British military, most notably by the Royal Navy.  Used as a judicial punishment in many countries, there are references to in police reports as early as 1691 but the term became more widely used after 1695 when it was mentioned in the script of a play, the Admiralty adopting it somewhat later.  The cat is widely believed to be the source of a number of sayings but among etymologists, opinion is divided.  Although the British Army formerly abolished flogging in 1881, it the navy it was only ever “suspended” although it's said no sentences have been imposed since 1879.

Cat got your tongue?:  Said to refer to those about the be punished often being somewhat lost for words at the sight of the whip, some linguists point-out it wasn’t seen in print until the 1880s and suggest its most likely the invention of children.

Bell the cat:  At sea, a bell would sound prior to floggings being administered.  A more prosaic explanation is the practice of attaching collars with bells to domestic cats to (1) make them easier to find and (2) protect birds and other small creatures.

Let the cat out of the bag:  To avoid the leather of the tails becoming brittle or stiff, when not in use, the cat was kept in a bag filled with sea-brine.  It’s also suggested it’s a variation of “pig in a poke (bag)”; a way of cautioning folk not to buy animals in bags given worthless felines could be substituted for valuable piglets.  Letting the cat out of the bag disclosed the trick.

Not enough room to swing a cat:  The sailors’ informal term for decrying the small spaces below deck.  This was long-thought to reference the dimensions required to use the cat as intended but some sources, noting the phrase pre-existed the Admiralty’s use, suggest, perhaps speculatively, it must refer to manhandled felines.  In this case, the naval connection is preferred.

While the cat’s away, the mice will play:  Nothing specifically naval, a general reference to cats and mice, the simile extending to what the untrustworthy get up to in the absence of figures of authority.

Rubbing salt into the wound: When the punishment was complete, the wounds were usually cleaned with especially salty brine or seawater, a basic and sometimes effective precaution against infection.  The modern meaning of the phrase is derived from the additional pain caused rather than the primitive infection control and is thus a variation of “adding insult to injury” (or really, adding injury to injury), the notion of gratuitously or vindictively adding to existing pain.

Lindsay Lohan clad in cat theme for Halloween party at the Cuckoo Club, London, October 2015.

Axe

Axe or Ax (pronounced aks)

(1) An instrument with a bladed head on a handle or helve, used for hewing, cleaving, chopping etc.  Axes appear to date from circa 6000 BC.

(2) In the slang of jazz musicians, various musical instruments.

(3) In slang, dismissal from employment.

(4) In slang, any usually summary removal or curtailment.

(5) In rock music, twelve or (especially) six-string electric guitars, a device with both is called a “doubleneck”.

Pre 1000: From the Middle English ax, axe, ex & exe (edged instrument for hewing timber and chopping wood; battle weapon), from the Old English æx and æces (ie ces (the Northumbrian acas)) (axe, pickaxe, hatchet), from the Proto-Germanic akusjo, related to the Old Frisian axa.  All were akin to the Gothic aquizi, the Old Norse øx & ǫx, the Old Frisian axe, the Old High German accus, acchus, akus & ackus (from which modern German gained Axt) and the Middle High German plural exa.  Source was the Germanic akwiz, (which existed variously as akuz, aksi, ákəs, áks) from the Latin acsiā and the Ancient Greek axī́nē, from the primitive Indo-European agwsi & agwsi- (axe).  The word hatchet (a smaller axe) was an imperfect echoic, an evolution of the earlier axxette.  Squabbles surrounded the spelling in the twentieth century and in Modern English Usage (1926), Henry Fowler (1858-1933) noted with regret that while ax, though “…better on every ground, of etymology, phonology and analogy” appeared so strange to modern eyes that “…it suggests pedantry and is unlikely to be restored.”  The phrase "my grandfather's axe" explores the nature of authenticity, the expanded quotation being "This is my grandfather's axe; my father replaced the handle and I replaced the head." 

Jimmy Page of Led Zeppelin with Gibson EDS-1275 Doubleneck, Earl’s Court, London, May 1975.

The sense of an axe as a "musical instrument" dates from 1955, originally from the jazz scene where it referred to the saxophone, the now more common use to describe electric guitars emerging only in the summer of love (1967).  The phrase "to have an axe to grind" was first used in 1810 in a matter involving the US politician Charles Miner (1780-1865) but has since the late nineteenth century been often misattributed since to Benjamin Franklin (1706-1790), the latter in this case a victim of the phenomenon of "quotation celebrity" which affects also figures such as William Shakespeare (1564–1616) and Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955).  In the case of the bard that always seems strange because all his words exist in print but it does seem that when some see a familiar fragment containing a word like "hath", they assume it comes from Shakespeare.

Battleaxes (don't call them old).  Bronwyn Bishop (b 1942) (left), Nancy Pelosi (b 1940) (centre) & crooked Hillary Clinton (b 1947) (right).

The verb axe dates from the 1670s in the sense of "to shape or cut with an axe" and was a direct development from the noun.  The figurative use meaning "to remove" (a person, from a position) or "severely reduce" (expenditure) began circa 1923 and soon extended to the sense of severely cutting the levels of anything to do with money.  Surprisingly, there seems to be no reference to the noun axe-handle or ax-handle prior to 1798.  The noun battleaxe (also as battle-axe & battle-ax) was a military term which referred specifically to a weapon of war, typically a double headed device which cut when swung in either direction although, despite the way they're often depicted in popular culture, they weren't always large and heavy, something not surprising given soldiers' traditional preference for lightweight tools.  The figurative sense meaning "formidable woman" was US slang, dating from 1896.  Unlike most gender-loaded (this one by historical association) terms, it may in some circumstances be still OK to use because "formidable" does have positive connotations although anyone brave enough to try might be well-advised to field "battleaxe" rather than "old battleaxe" and let it do its work synecdochally.

Lindsay Lohan at the AXE Lounge, Southampton, New York, June 2009.

Catafalque

Catafalque (pronounced kat-uh-fawk, kat-uh-fawlk or kat-uh-falk)

(1) A (temporary or permanent) raised structure on which the body of a deceased person lies or is carried in state.

(2) A hearse (obsolete).

1635–1645: The orthodoxy is that catafalque is from the seventeenth century French catafalque, from the Italian catafalco, from the Late Latin catafalicum (scaffold), the construct being cata- (from the Ancient Greek κατά (katá) (downwards (and used in Medieval Latin with a sense of “beside, alongside”))) + fal(a) (wooden siege tower) + -icum (neuter of –icus; (the suffix used to denote "belonging to; derived from or pertaining to"), from the Etruscan.  However, etymologists are divided on the origin.  Some believe English picked up the word directly from the Italian and not via French and regard the Italian of uncertain origin, the connection with the Late Latin only speculative.  From the Medieval Latin catafalicum Old French gained chaffaut & chafaud (scaffold) which exists in the Modern French échafaud (scaffold).  Catafalque (the rare alternative spelling is catafalco) is a noun; the noun plural is catafalques.

The coffin carrying Queen Elizabeth II, rested on its catafalque for the lying in state, Westminster Hall, London, September 2022.

A catafalque is the platform upon which the body of the dead lies before their funeral.  In the West the modern practice is for the body to be placed in a coffin but historically the body was sometimes wrapped and this remains the practice for burials at sea.  Catafalques can be elaborately decorated or constructed with austere simplicity and can be mobile or stationary.  Although associated with state funerals they are a common fixture in crematoria or chapels and exist so the coffin is permitted to sit at an appropriate height for ceremonial purposes, most obviously during “open-casket” services.  Those used by undertakers (funeral directors) are usually mobile 9on wheels) so the coffin may easily be moved from one place to another, by one staff member if need be.  Thus, any appropriately elevated surface used from the purpose can be thought of (if only temporarily) as a catafalque although the name-proper is attached only to dedicated devices.  A catafalque party is a military formation, traditionally numbering four (though it may be more or fewer) assembled to stand guard over the coffin while the body is lying in state or at some other site of memorial.

The 1865 (Abraham Lincoln) catafalque in 2006, after the most recent replacement of its fabric covering.

One catafalque noted for its longevity is that hastily (and, from the point-of-view of a professional carpenter or cabinet maker, rather crudely) fabricated was that used for the coffin of Abraham Lincoln (1809–1865) US president 1861-1865) and still in use today.  Of simple construction and using plain framing timber, it’s not at all ornate and gains its aura from the long history of use, having being used in the funerals of some four dozen US figures from politics, the judiciary, the military or society (most recently Senator Harry Reid (1939–2021; US senator (Democrat, Nevada).  Over the years, it has been enlarged and strengthened to accommodate increasingly heavy coffins and the fabric covering has several times been replaced but almost all the original structure remains so it’s not a “grandfather’s axe”.  The simplicity has sometimes been emulated with intent, Pope John Paul II’s (Karol Wojtyła, 1920–2005; Pope of the Roman Catholic Church 1978-2005) plain cypress coffin sitting atop a catafalque so basic it might have been built by Christ himself.  It’s thought JPII’s successor might choose something just as simple.

Voltaire's catafalque.

Voltaire (François-Marie Arouet, 1694–1778), the radical writer of the French Enlightenment, as controversial in death as in life, was buried quietly some way distant from Paris because his friends feared church and state would seek to deny him the proper rites of burial and it was only some thirteen years after his death, just after the French Revolution that his body was disinterred and moved to the Panthéon in Paris, a site created to honor illustrious citizens.  His catafalque was an impressive three tiered construction inscribed: ”Poet, philosopher, historian, he made a great step forward in the human spirit.  He prepared us to become free”.

David Lloyd George's funeral bier, Good Friday (30 March) 1945, Llanystumdwy, Wales.

In the context of funerals, definitionally, there is no difference between a bier and a catafalque.  Bier ((1) a litter to transport the body of a dead person, (2) a platform or stand where a body or coffin is placed & (3) a count of forty threads in the warp or chain of woolen cloth) was from the Middle English beer, beere & bere, from the Old English bēr, from the West Saxon bǣr (stretcher, bier), from the Proto-West Germanic bāru, from the Proto-Germanic bērō, from the primitive Indo-European bher (to carry, bear) and was cognate with the Saterland Frisian Beere (stretcher, bier), the Dutch baar (bier) and the German Bahre (bier, stretcher).  It’s thus functionally the same as a catafalque and the only point of differentiation in modern use seems to be the convention that catafalque is used when the funeral is grand while for more modest affairs (like David Lloyd George’s (1863–1945; UK prime-minister 1916-1922) “farm cart funeral”), bier is preferred.  The pyre (from the Ancient Greek πυρά (pyrá), from πῦρ (pyr) (fire)), also known as a funeral pyre, is a structure, made almost always of wood, constructed for the purpose of burning a body as part of a funeral rite and thus a form of ceremonial cremation.  Dimensionally, it may be far larger than is required for purposes of combustion because big fires were often an important aspect of the spectacle.

A member of Queen Elizabeth II's catafalque party fainted shortly before his shift was due to end.  He was not seriously injured.

Squoval

Squoval (pronounced sqwoh-vuhl)

(1) In cosmetology, a description applied mostly to describe the shape of certain fingernails and faces; essentially an oblong (a rectangle with partially ovoid shorter sides).

(2) In commerce, a trademark of the bicycle company Cervélo, describing the cross sectional shape of the downtube used in frame construction.

1984: A portmanteau word, sq(uare)- + oval.  Square was from the Middle English square, sqware & squyre from the Old French esquarre & esquerre, (which survives in modern French as équerre), from the Vulgar Latin exquadra, derived from the Latin quadro, from quadrus (square), from quattuor (four).  Oval was from the Late Latin ovalis, from ovum (egg); it was cognate with the French and Italian ovale and the Dutch ovaal.  Used both as noun and adjective, coinage is credited to Paula Gilmore, a noted manicurist (nail technician) and owner of Tips Nail Salon in San Mateo, California.  Squoval is a noun & verb, squovaled & squovaled are verbs and squovallike is an adjective; the noun plural is squovals.

Art of the fingernail

A pleasing creation, sqoval is misleading because it’s used to reference a shape which is actually a rectangle with the shorter sides defined by curves which tend to the semi-circular.  In geometry, such a shape is called a stadium, discorectangle or an obround.  It’s not to be confused with a square with rounded corners which, despite frequent use, is neither a "quartic" nor a "sqound".  A quartic is “an algebraic equation or function of the fourth degree or a curve describing such an equation or function” and sqound (a portmanteau word, the construct being sq(uare) + (r)ound is the ultimate niche word, the only known use by collectors of C4 Chevrolet Corvettes (1984-1996) describing the shift in 1990 from round to "square with rounded corners" taillights.  Mathematicians insist the correct word for a "square with rounded corners" is "squircle" (in algebraic geometry "a closed quartic curve having properties intermediate between those of a square and a circle").  The construct of squircle is squ(are) +c(ircle).  Few etymologists (and certainly no lexicographers) appear to have listed sqound as a "real" word but it's of interest because it's a rare example of a word where a "q" is not followed by a "u"; such constructs do exist but usually in the cases where initialisms have become acronyms such as Qantas (Queensland and Northern Territory Aerial Services).  Such words do appear in English language texts but they tend to be foreign borrowings including (1) qat (or khat) (a plant native to East Africa and the Arabian Peninsula, often chewed for its stimulant effects, (2) qi (a term from Chinese philosophy referring to life force or energy), qibla (the direction Muslims face when praying, towards the Kaaba in Mecca and (4) qiviut (the soft under-wool of the musk-ox, valued when making warm clothing).  

Squoval is thus a commercial descriptor in the fingernail business rather than a precise geometric description.  The basic rectangle metaphor is important in fingernail shaping because manicurists borrow from art and architecture the golden ratio which suggests humans find most aesthetically pleasing, shapes with an aspect ratio of about 1.6:1 which, coincidentally, is the relationship between a kilometre and a mile.  Nails can be shaped beyond the nominally perfect 1.6:1 but tend either to be thought exaggerated or created purely for artistic display, often to create a large surface for designs.  Manicurists, certainly in the Instagram age, are an imaginative profession and there’s been a proliferation of terms to describe species.  However, within the fingernail family, there are eight basic genera, practitioners inventing or classifying species as they emerge.  To date, the lipstick is the only widely-used form which is asymmetric.

The classic oval is said to be a symmetrical ellipse where the curve of the tip exactly mirrors the curve of the cuticle but, in real-world conditions, the former usually only tends to the latter.  The shape is natural, flattering and adaptable to both long and short nails.

Long coffins.

A natural coffin demands long nails with the fragility that implies.  The nail needs to be sufficiently long so both sides can be filed to a tapered point something like a stiletto before the tip is squared-off.  Because of that, they’re often constructed with acrylics.  Coffin in this context is actually a modern appropriation to describe what was historically known as the ballerina, a descriptor some European fashion houses still prefer but the Instagram generation has moved on and like coffin.  Coffins are rare worn in the elongated form.

Square nails provide a shape which is less susceptible to damage than many but doesn’t suit all shapes.  It’s best adopted by those with a narrow nail bed because the flat tip creates an optical illusion of additional width, making nails appear wider than they are.  Rarely seen variations include the cut out (a twin-peaked effect), the lipstick (uniquely, with an asymmetric tip) and the trapeze or flare (where the metaphor is the bell-bottom trouser leg).

A statement shape, something of a triumph of style over functionally, the stiletto gains its dramatic effect from long and slender lines and can be shaped with either fully-tapered or partially square sides.  They’re vulnerable to damage, breaking when subjected to even slight impacts and almost never possible with natural growth.  True obsessives insist they should be worn only with stiletto heels and then only if the colors exactly match.

Squovals in Dior 999.

With straight sides and a curved top, the squoval, while not as dramatic as a coffin, is good, functional engineering because its softer edges are less prone to snagging and tearing than those of a square and break less the more more delicate almonds.  Technically, the squoval is just a species of the square but its popularity meant it came to be classified as its own genus.

Usually very long, the almond has an elongated shape and a tapered tip.  Even when applied to nails with a narrow bed, they’re inherently weak at the tip so most are constructed from acrylics.  It’s a style which attracts many variations on the theme, often tending to a truer emulation of the nut at which point some should probably be classified as pointed.

Realistically, pointed nails, certainly in their more extreme iterations (sometimes called mountain peaks, edges, arrow-heads, claws or talons), are more for short-term effect than anything permanent.  Best used with acrylics, the knife-like style can be a danger to the nail itself and any nearby skin or stockings.  Those contemplating intimacy with a women packing these should first ponder the implications.

Lindsay Lohan with rounds, 2006

Rounds are less a style than a detailing of the natural human shape.  Usually worn short and simple and rarely needing an acrylic overlay, it’s a classic look with the added benefit of durability and low maintenance.

Strake

Strake (pronounced streyk)

(1) In shipbuilding, a continuous course of planks or plates running from bow to stern on a ship forming a hull shell, deck, etc.

(2) An iron fitting of a medieval cart wheel (can be used to describe any metal plate in a rubber tyre but largely obsolete).

(3) In aviation and automotive design, a type of aerodynamic surface mounted to fine-tune the airflow.

(4) In engineering, a shaped piece of wood used to level a bed or contour the shape of a mould, as for a bell.

(5) A trough for washing broken ore, gravel, or sand; a launder.

(6) A streak (obsolete).

(7) The simple past tense of strike (obsolete).

1300–50; From the Middle English strecchen from the Old English strācian or streċċan (to stretch, hold out, extend, spread out, prostrate), thought derived from the Proto-Germanic straikōną & strakkijaną (to stretch, make taut or tight) and the Old High German streihhōn.  The primitive European root was streg or treg (stiff, rigid) from which also evolved the West Frisian strekke, Dutch strekken, the German strecken, the Danish strække, the Swedish sträcka, the Dutch strak and the Albanian shtriqem.

1984 Ferrari Testarossa Monospecchio.

Pininfarina’s use of strakes on the 1984 Ferrari Testarossa was a piece of functional engineering to (1) optimize airflow to the rear-mounted radiators and (2) comply with regulations in some countries which limited the size of openings in bodywork.  The rear radiators replaced the single front-mounted unit used on the Testarossa’s predecessors (the 365 & 512 BB ranges 1973-1984) and that both simplified the plumbing and reduced the heat-soak into the cabin.  Ferrari applied the strakes to subsequent models but public opinion was always divided and the trend didn’t persist although their aerodynamic properties ensured their continued use on racing cars.

1962 Ford Mustang V4 concept car (left) and the 1964½ production version (right).

Carrozzeria Pininfarina didn’t invent either the concept of strakes nor even the particular form in which they appeared on the Testarossa.  Used for decades on aircraft fuselages to direct airflow, side-mounted grills in various shapes and locations had become common on mid-engined racing and road cars since the 1960s and fake versions appeared too, the original Ford Mustang featuring an entirely non-functional pair in a nod to the 1962 concept car with a mid-mounted V4.  On the original they had actually ducted air and on the production version, racers did find the affectation handy, modifying it to assist with brake cooling.

Willy Koenig’s take on the Ferrari Boxer.

By comparison, the Testarossa’s strakes were a more dominant part of the coachwork and clearly exaggerated to the point where they became a motif.  The blame for this unfortunate style has been attributed to German publisher Willy König (b 1938 (and in the English-speaking world usually spelt Koenig)) who turned his hobby of racing cars into a business, modifying a variety of machines for those who sought either more performance or a more distinctive appearance than that which came from the factory.  The strakes were one of his first flourishes in fibreglass, appearing circa 1975 on his own Ferrari 365 GT4 BB and soon on customers’ cars too.  His strakes and other modifications were much emulated during the 1980s, proliferating curiously on front-engined cars and there was apparently a receptive market which endures to this day in a niche, well-preserved genuine Koenig cars now having a cult-following, sometimes referred to as "drug-dealer chic".  It's an unfortunate association and most unfair to Herr Koenig who deserves fondly to be remembered for the remarkable and extreme machines his operation produced over decades. 

Koenig-modified Ferrari Testarossa, sans strakes.

Later, Koenig would, presumably as an ironic touch, add his custom touch to the Testarossa, removing the strakes to leaving reveal two gaping apertures.

Fibreglass after-market strakes in the 1980s: Some were worse than others.

1995 Ford F-350 XLT (7.3 litre Power Stroke V8, Crew Cab "Dually") with strakes.  

Few lamented the passing of the 1980s fad for glued-on strakes on Jaguar XJSs, Mercedes-Benz SECs, Porsche 911s and such and probably nobody expected a revival on a Ford F-350 ("Dually"), a large pick-up truck even by US standards.  The incongruity of the Testarossa's signature feature appearing on such a thing will polarise opinion but, because it's fitted with Ford's not quite indestructible but legendarily durable 7.3 litre (444 cubic inch) Power Stroke diesel V8 (1993-2003), many will forgive anything.  Whether the choice to fit the strakes was intended to be something ironic isn't known but, given the elongation on such a long chassis, they probably work better than than the stunted units applied in the 1980s on so many unfortunate coupés.  At this scale, it's almost an art deco motif.

Lindsay Lohan, straked by sunlight & shadow.

Lichtdom

Lichtdom (pronounced lish-dumm)

A visual technique using light to emulate large-scale architecture.

1934: The construct of the German Lichtdom was licht + dom (literally “cathedral of light”).  Licht (variously light, effortless, freely, easy, free; luminous; eye, clear, sparse, bright, light, shiny, light colored; distinct, plain, obvious, explicit, lucid, straightforward) was from the Middle High German lieht and the Middle German līcht), from the Old High German lioht, from the Old Saxon lioht, from the Proto-West Germanic leuht, from the Proto-Germanic leuhtą, from the primitive Indo-European lewktom.  The descendants include the Dutch licht and the English light.  The obsolete alternative spelling was Liecht.  The colloquial uses include describing candles and (in hunting), the eye of (especially ground) game.  The usual plural is Lichter but Lichte operates as a plural when speaking of candles.  Dom (cathedral; church; big church building; dome, cupola) was from the French dôme, from the Italian duomo, from the Latin domus (ecclesiae (literally “house (of the church)”)), a calque of the Ancient Greek οἶκος τῆς ἐκκλησίας (oîkos tês ekklēsías).

Nuremberg Rally, 1934.

Of all that was designed by Albert Speer (1905-1981; Hitler’s court architect 1934-1942), little was built and less remains.  Although he would later admit the monumentalism of the Nazi architectural plans was a mistake, his apologia was always tinged with the regret that in the years to come, all he was likely to be remembered for was his “immaterial lightshow”, used as a dramatic backdrop for the party rallies held at the Zeppelinfeld stadium in Nuremberg.  Compared with what, had things worked out, he’d have been able to render in steel, concrete, marble and granite, Lichtdom (cathedral of light) was of course ephemeral but it’s undeniably memorable.  Speer created the effect by placing the Luftwaffe’s (the German air force) entire stock (152) of 1500 mm (60 inch) searchlights around the stadium’s perimeter and maximized the exposure of the design by insisting as many events as possible be conducted in darkness, the other advantage being the lighting disguised the paunchiness of the assembled Nazis, many of whom were flabbier than the party’s lean, Nordic ideal, something which anyway was suspect, one joke spread by the famously cynical Berlin natives noting that empirically a better description of the Nazi ideal was "as blonde as Hitler, as fit as Göring, as tall as Goebbels and as sane as Hess".

Nuremberg Rally, 1936.

Few were unimpressed.  Sir Neville Henderson (1882-1942; UK ambassador to Germany 1937-1939), the UK’s admittedly impressionable ambassador described the ethereal atmosphere as “…both solemn and beautiful… like being in a cathedral of ice.”  History though has preferred “cathedral of light” and brief views are captured in Hans Weidemann’s (1904-1975) Festliches Nürnberg (Festival of Nuremberg; a 1937 propaganda film chronicling the 1936 and 1937 events) which is mercifully shorter than Leni Riefenstahl’s (1902–2003) better-known works although the poor quality of the film stock used can only hint at the majesty achieved but the use of Richard Wagner's (1813-1883) Die Meistersinger von Nürnberg (1868) as a musical accompaniment helps.  Riefenstahl actually claimed she suggested the idea to Speer and a much better record exists in her film Olympia (1938) which documented the 1936 Summer Olympics at which the technique was also used.  Architects had of course for millennia been interested in light but apart from those responsible for the placement of stained glass windows and other specialties, mostly they were concerned with function rather than anything representational.  It was the advances the nineteenth century in the availability and luminosity of artificial light which allowed them to use light as an aesthetic element not limited by the time of day and thus the angle of the sun.

Speer had plenty of time to reflect on the past while serving the twenty years in Berlin’s Spandau prison for war crimes and crimes against humanity, a sentence he was lucky to receive.  His interest in light persisted and with unrestricted access to the FRG’s (the Federal Republic of Germany, the old West Germany) technical libraries, he assembled close to a thousand pages of notes for a planned book on the history of the window in European buildings, musing on variables such as the cost and availability of glass at different times in different places, the shifting cost of the labor of glaziers & carpenters and market interventions such as England’s notorious “window tax” which resulted in some strange looking structures.  Ever drawn to the mathematics he’d in his youth intended to study until forced to follow his father into architecture, he pondered the calculations which might produce the changes in “what value a square meter of light had at different periods” and what this might reveal beyond the actual buildings.

It was a shame the book was never written.  He recalled also the effects he applied to the German pavilion he built for the Paris World’s Fair in 1937, bathing it at night with “…skilfully arranged spotlights.  The result was to make the architecture of the building emerge sharply outlined against the night, and at the same time to make it unreal... a combination of architecture and light.”  It was at the Paris event the German and Soviet pavilions sat directly opposed, something of a harbinger and deliberately so.  He was nostalgic too about the Lichtdom, thinking it recalled “a fabulous setting, like one of the imaginary crystal palaces of the Middle Ages” although wryly he would note history would remember his contributions to his profession only for the ephemeral, the “…idea that the most successful architectural creation of my life is a chimera, an immaterial phenomenon.”  Surprisingly, for someone who planned the great city of Germania (the planned re-building of Berlin) with its monumental structures, the news that all that remained in the city of his designs were a handful of lampposts (which stand to this day) seemed something almost amusing.  In all his post-war writings, although there’s much rejection as “a failure” of the plan of Germania and the rest of the “neo-Classical on a grand scale” which characterized Adolf Hitler’s (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) vision of representational architecture, it’s not hard to detect twinges of regret for the unbuilt and sometimes he admitted it.  As he was contemplating a return to the drawing board upon his impending release, he noted: “Although I have had enough of monumental architecture and turn my mind deliberately to utilitarian buildings, it sometimes comes hard for me to bid goodbye to my dreams of having a place in the history of architecture. How will I feel when I am asked to design a gymnasium, a relay station, or a department store after I planned the biggest domed hall in the world?  Hitler once said to my wife: ‘I am assigning tasks to your husband such as have not been given for four thousand years. He will erect buildings for eternity!’  And now gyms!”  As things transpired, not even a gym was built and he instead wrote his history in text.  Of that piece of curated architecture, some were fooled and some not.

Tribute in Light annual commemoration, New York.

Dramatic though it was, the exact effect Speer achieved in the 1930s is so tainted by its association with the Nazis that few have attempted to recycle the motif although one pop-star used the effect as a visual backdrop in 1976 when he was going through a right-wing phase which he chose later not to mention.  Isolated or clustered beams are however often used and one display is an annual “Tribute in Light” to commemorate the 9/11 attacks on the World Trade Center and the Pentagon.  It demonstrates the way the play of light can be used; depending on conditions, the light can bounce off the clouds, creating a very different effect than that afforded by a clear sky and it’s possible to render in those clouds a virtual oculus.

Tribute in Light annual commemoration, New York: The oculus effect.  Note the circling birds.

One problem with high intensity light the Tribute in Light has high-lighted is the way temporarily it messes each year with the migration of hundreds of thousands of songbirds.  The memorial uses 88 focused spotlights, the beams of which reach some 6¼ miles (10 km) into the sky and are visible from as far away as sixty miles (100 km).  Traditionally, the display was illuminated from dusk to dawn but of late it’s been switched off for twenty minute intervals in deference to the songbirds which in mid-September make their long flight from their breeding grounds in Canada's boreal forests to their winter homes in the southern US, Mexico, and Central & South America.  They fly mostly by night and it’s thought they’ve evolved to navigate by the stars but, unfortunately, are much attracted to light.  The Tribute in Light having more light than anything else at altitude, the display seems to confuse the birds and it was noted the death toll from birds crashing into New York windows increased every 9/11.  Observers found there was also an element of sound involved, the birds in the light issuing the call associated with distress, this tending to draw more songbirds to the light.

Tribute in Light annual commemoration, New York: Songbirds caught in the light.

Researchers used radar to quantify the effect.  Typically, the skies within a ¼ mile (400 m) of the un-illumined memorial contained around 500 birds but when lit, within 20 minutes, there were almost 16,000.  Extrapolating the data, it was estimated some 1.1 million migrating songbirds had been affected between 2008-2016, even accounting for the lights since 2009 having been shut-off for twenty minutes whenever volunteers count more than 1,000 birds in the beams.  It’s thought the death–toll from birds crashing into buildings is relatively low but there’s concern also the creatures are compelled to expend energy when circling the site, burning up vital energy needed for their long flights.  Shutting off the lights is thought to allow the birds to re-focus on their guiding stars to find their bearings and continue the migration south.  Bird lovers would prefer searchlights not be used at all and some sites have agreed not to use them during the migration season but there’s obviously much sensitivity around the 9/11 commemoration.  Human development of the built environment has for a long time influenced the migration path, the radar data confirming birds disproportionately choose to fly over cities, the researchers referring to the “almost magnetic pull of birds to light.”  We need to remember that it’s their planet too.

Fragment from Olympia (1938) with Lichtdom.