Edition

Edition (pronounced ih-dish-uhn)

(1) One of a series of printings of the same publication, each issued at a different time and differing from another by alterations, additions etc (historically sometimes referred to as impressions).

(2) The format in which a work is published (single volume edition, abridged edition, leather-bound edition, French language edition etc).

(3) In newspaper production, a form of differentiation between different versions of the “same” issue (late edition, city edition etc) and used in a similar manner in radio & television broadcasting.

(4) In book collecting, as “first edition”, a copy of a book from its first release or print run.

(5) The whole number of impressions or copies of a book, newspaper etc, printed from one set of type at one time.

(6) A version of anything (physical and not), often (sometimes misleadingly) in forms such as “limited edition”, “special edition” etc).

1545–1555: From the French édition, from the Middle French, from the Latin ēditiōn- (publication), the stem of ēditiō (a bringing forth, publishing), the construct being ēdit, the past participle of ēdere (to give out; bring forth, produce) + -iōn (the suffix appended to a perfect passive participle to form a noun of action or process, or the result of an action or process).  When the word entered English in the sense of “version, translation, a form of a literary work” (and later “act of publishing”) the dominant linguistic influence was probably the Latin editionem (a bringing forth, producing (although in specialized use it also carried the meaning “a statement, an account rendered”, from the past-participle stem of ēdere, the construct being e(x) (in the sense of “out”) + -dere, a combining form of dare (to give), from the primitive Indo-European root do- (to give).  Edition is a noun; the noun plural is editions.

More Issues Than Vogue sweatshirt from Impressions.

In publishing and (sometimes vaguely) related fields, the terms “issue”, “edition” and “version” have come to be used so loosely that they sometimes function interchangeably but within the publishing industry, there are conventions of use: Issue traditionally was used to refer to a specific release of a recurring publication (magazine, journal, newspaper etc) and tended to be tied to the release sequence (“October 2024 Issue”, “Fall 2024 Issue”, “Issue No. 215” etc).  Issue can however be used also as “re-issue” which refers usually to a “re-print” of a previous edition although it’s not uncommon for blurbs like “re-issued with new foreword” or “re-issued in large print” to appear, the implication being the substantive content remains the same.  Edition was used of a particular form or version of a publication that might differ from previous ones in significant ways which might include text corrections, foreign language translations, or updates, thus descriptions like “German Language Edition”, “Second Edition” or “Abridged Edition.  Some editions (especially those which appear in an irregular sequence) actually give in their title some hint of the nature of what distinguishes them from what came before such as the convention adopted by the American Psychiatric Association's (APA) Diagnostic for their Statistical Manual of Mental Disorders (DSM).  What the APA does is change the number if a DSM is regarded as a “new edition” but retain the number with an appended “R” (revised) or “TR” (text revision) if it’s an “updated edition”.  Thus has appeared the DSM-III-R (1987), the DSM-IV-TR (2000) and the DSM-5-TR (2022).  There’s some overlap in use for version and this perhaps reflects the influence of technology because it tends to be used of a specific form or variant of a publication such as language (eg Spanish version), format (eg audio version) or materials used in the construction (eg e-book version) rather than an implication of a chronological or iterative update (which in publishing tends to be called an “edition”.  In that the industry differs from IT where version numbers are almost always sequential although the convention widely used in the 1980s in which something like “version 2.4.3” could be interpreted as 2=major release, 4=update and 3= bug fix has long fallen into disuse.

Holy Bible, Revised Standard Version (RSV), 1952 limited edition, first printing by Thomas Nelson & Sons, brown full leather binding with inlaid gold lettering, silk end paper and green cardboard slip case, custom bound by the Chicago Bible Society.  US$750 from Abe Books.

There are also special uses which assume a life of their own, notably the Revised Standard Version (RSV), an English translation of the Bible published in 1952 by the Division of Christian Education of the National Council of the Churches of Christ in the US.  The RSV was a revision of the American Standard Version (ASV, 1901) and was published to render the text into the modern English which readily would be understood by a contemporary reader of modest education.  The object was not to change the meaning of the text but to preserve it and paradoxically this required editing the classic verses written by William Tyndale (circa 1494–1536) or in the King James Version (KJV, 1611) because the over hundreds of years the language had evolved and the much of what was in the original needed to be interpreted for a general audience and the controversy of clerical gatekeepers between God and his people had for centuries been a thing.  The RSV however has not been the last words and those who track novel initializms will have been delighted by the appearance of the New Revised Standard Version (NRSV, released in 1989 by the National Council of Churches (NCC) and the New Revised Standard Version Updated Edition (NRSVue), published in 2021.  Students of such things aren’t expecting the next update for at least a decade but finding a name might prove more of a challenge than editing the Old Testament’s Book of Leviticus for a modern audience although those who have worked in biblical forks have found alpha-numeric solutions such as RSV-2CE (Revised Standard Version, Second Catholic Edition (2006))

First Edition of James Joyce’s Ulysses, "Copy No 1", held in the National Library of Ireland.  It contains in Joyce's hand an inscription to the English political activist Harriet Shaw Weaver (1876–1961) who was for decades his patron.

A first edition of Ulysses (1922) by James Joyce (1882–1941) in 2009 sold on the opening day of an antiquarian book fair London for Stg£275,000, at the time a record for a twentieth century first edition.  Ulysses is regarded in the industry as the most collectable modern novel and the first editions, printed on hand-made Dutch fine-paper, are well-catalogued and this was number 45 of the first edition print run (all signed by the author) of 100, one of four not previously accounted for.  It had been sold originally by the Manhattan’s obviously subversive Sunwise Turn bookshop (Ulysses at the times banned in the US) and remained in the possession of the same family, stored in its original box and thus not exposed to light, accounting for the preservation of the construction.  Proving that dealers in literary circles can gush with the finest used car salesmen, the dealer who arranged the sale explained: “The color is amazing – this lovely Aegean Sea, Greek flag blue which would normally have darkened into a more dirty blue but because it has been in a box it is a complete thing of beauty.”  The almost pristine condition was a product also of its history of use, an inspection suggesting it was seemingly unread except for the well-thumbed final chapter where the most salacious passages can be found.  The existence of unread copies of well-known books is not unusual and those notorious for sitting neglected on the bookshelf include “challenging” texts such as A Theory of Justice (1971) by John Rawls (1921–2002), A Brief History of Time (1988) by Stephen Hawking (1942–2018) and Joyce’s own, bafflingly difficult Finnegans Wake (1939).  Intriguingly, the antiquarian book business also includes the category “pre-first edition” (any limited run copy of a book printed before the “first edition” is published).  The apparent oxymoron is explained by “first edition” being an industry definition rather than a literal description; pre-first editions thus analogous with “pre-production” or “final prototype” cars which (if they’ve survive the crusher which claims most) can be prized by collectors.

Among special editions there are, inter alia, “Collector's Editions”, “Anniversary Editions” and even, in one instance, the “So Fetch Edition”.

In commerce, “special editions” have become notable income generators for content providers and the movie business has embraced the concept with editions such as “the making of”, “bloopers & out-takes”, “director’s cut” and others and the idea isn’t new.  Led Zeppelin's eighth studio album (In Through the Out Door (1979)) originally was sold with an outer sleeve of plain brown paper, stamped with nothing more than the while the cardboard sleeve proper within was released with six different versions of the artwork.  Buyers would thus not know which sleeve they were selecting.  There’s nothing to suggest it was anything but a gimmick and neither the band nor the record company were expecting many to keep buying copies in the plain brown wrapped until they’d scored all six covers but there were press reports at the time of "Led Heads" doing exactly that.  The industry took note.

Taylor Swift's The Anthology, one of 34 available editions of The Tortured Poets Department.

The attraction of releasing multiple versions of essentially the same product with variations restricted to some added content or detail differences in the packaging is that the additional costs in production and distribution are marginal yet there’s sometimes it’s possible to charge a premium for the “non-standard editions”.  The practice had for decades been quite a thing with car manufacturers but the music business came also to like the idea because, unlike with the cars where customers tended to buy one at a time, obsessive fans of musicians might be persuaded they needed several copies of what was essentially the same thing.  Leftist UK student site The Tab noted few music fans were as obsessive as Taylor Swift’s (b 1989) Swifties and, more significantly, they were also impressively numerous and thus an irresistible catchment of disposable income.  What The TAB noted was the almost simultaneous release of a remarkable (and apparently unprecedented) of 34 versions of Ms Swift’s eleventh album, The Tortured Poets Department (2024), something which as well as generating revenue has the statistical benefit of afforcing her presence on the charts, every sale counting as a 1.0.  Some were technologically deterministic in than four were released as audio cassettes and nine were exclusively digital bit most were essentially the same product except for the inclusion of a bonus track and there were some available only through the retailer Target.  The most obsessive Swifties obviously could buy all 34 editions but for those which want just an exhaustive collection of the music, it appeared all was included on the accurately named The Anthology so there was that.  One day, all 34, still (where appropriate) unopened in their original packaging will appear begin to appear on auction sites.  The approach attracted some adverse comment (which the Swifties doubtless ignored) and probably confirmed in the mind of JD Vance (b 1984; US senator (Republican-Ohio) since 2023) that childless cat ladies are evil.

All editions: The Tab’s The Tortured Poets Department discography:

1. Collector’s Edition Deluxe with The Manuscript
2. Collector’s Edition Deluxe with The Albatross
3. Collector’s Edition Deluxe with The Bolter
4. Collector’s Edition Deluxe with The Black Dog
5. Standard album and The Manuscript
6. Standard and The Manuscript (signed)
7. Standard and But Daddy I Love Him (Acoustic)
8. Standard and Guilty As Sin? (Acoustic)
9. Standard and Down Bad (Acoustic)
10. Standard and Fortnight (Acoustic)
11. Standard and Fresh Out The Slammer (Acoustic)
12. Target exclusive with The Albatross
13. Target exclusive with The Bolter
14. Target exclusive with The Black Dog
15. Target exclusive vinyl
16. The Manuscript vinyl (pressing one)
17. The Manuscript vinyl (pressing two)
18. The Albatross vinyl
19. The Bolter vinyl
20. The Black Dog vinyl
21. The Manuscript vinyl
22. The Anthology
23. Standard and The Black Dog ‘voice memo’
24. Standard album and Who’s Afraid of Little Old Me voice memo
25. Standard album and Cassandra voice memo
26. Standard album (digital)
27. Standard album and Daddy I Love Him (Acoustic)
28. Standard album and loml (live from Paris)
29. Standard album and My Boy Only Breaks His Favorite Toys (live from Paris)
30. Standard album and The Alchemy / Treacherous mashup (live from Paris)
31. The Manuscript cassette
32. The Bolter cassette
33. The Albatross cassette
34. The Black Dog cassette

1976 Lincoln Continental Mark IV, Lipstick edition.  The shade of red appears to be close to Dior's lipstick #744 (Party Red).

The car manufacturers have produced at least hundreds of “special editions”, a concept to which they kept returning because it was lucrative, the things usually profitable to an extent exceeding greatly the nominal sum of their parts.  Quite how many have existed over the years is difficult to estimate because, in addition to the well-documented examples from manufacturers which were sold nationally or even globally, some were offered only briefly or regionally and barely advertised.  Additionally, dealers or sometimes an agglomeration of them would also conjure up their own "special editions" so the total of such things is probably in the thousands.  Sometimes, fashion houses were paid to lend their name, AMC teaming with Pierre Cardin, Levi Strauss (Volkswagen also had a denim-trimmed Beetle though without a specific brand attribution) & Oleg Cassini while the Lincoln Continental at times was offered with themes by Emilio Pucci, Cartier, Bill Blass and de Givenchy although the most memorable were the reputed 500 “Lipstick editions”, a study in red & white, quite a sight given the expanse of sheet metal and leather.

1969 Dodge Charger R/T SE (left), 1972 Chrysler VH Valiant Charger 770SE E55 (centre left), 1976 Holden HX LE (centre right) and 2002 Mazda Miata Special Edition (MX-5 in some markets) (right).

In most of the “special” editions, offered over the decades, it was only in the advertising or press kits that terms like “special edition” or “limited edition” appeared.  Sometimes though, such physical badges did appear on the vehicles. In the US, on the 1969 Dodge Chargers with the SE option, the badge included both “SE” & “Special Edition” while in Australia, only “SE” appeared on the 1972 Chrysler VH Valiant Charger 770SE E55 (one of the industry’s longer model names) although the marketing material called it a “Special Edition”, a usage borrowed from the parent corporation in the US and even the badge used was the same part as that which had been stuck on the 1970 Dodge Challenger SE.  Holden’s frankly cynical (but most profitable) 1976 LE spelled out “Limited Edition” under a “LE” (in a larger font) while Mazda used only the full term for the Miata (MX-5) Special Edition models.

Limited Edition, less limited profit: The Holden LE

1976 HX Holden LE

By the mid 1970s, the market had come to prefer the cheaper, smaller and easier to use cassette tapes which meant warehouses were soon full of the once desirable 8-track players and buyers were scarce.  In Australia, GMH (General Motor Holden) by 1975 had nearly a thousand in the inventory which also bulged with 600-odd Monaro body-shells, neither of which were attracting customers; fashions change and both had become unfashionable.  Fortunately, GMH was well-acquainted with the concept of the "parts-bin special edition" whereby old, unsaleable items are bundled together and sold at what appears a discount, based for advertising purposes on a book-value retail price there’s no longer any chance of realizing.  Thus created was the high-priced, limited edition LE (which stood for "Limited Edition", the Monaro name appearing nowhere although all seem still to use the name), in metallic crimson with gold pin striping, golf "honeycomb" aluminium wheels, fake (plastic) burl walnut trim and crushed velour (polyester) upholstery; in the 1970s, this was tasteful.  Not designed for the purpose, the eight-track cartridge player crudely was bolted to the console but five-hundred and eighty LEs were made, GMH pleasantly surprised at how quickly they sold with no need to resort to discounting.  When new, they listed at Aus$11,500, a pleasingly profitable premium of some 35% above the unwanted vehicle on which it was based; these days, examples are advertised for sale for (Aus$) six-figure sums and anyone who now buys a LE does so for reasons other than specific-performance.  Although of compact size (in US terms) and fitted with a 308 cubic inch (5.0 litre) V8, it could achieve barely 110 mph (175 km/h), acceleration was lethargic by earlier and (much) later standards yet fuel consumption was high; slow and thirsty the price to be paid for the early implementations of the emission control plumbing bolted to engines designed during more toxic times.      

1971 Holden HQ Monaro LS 350

The overwrought and bling-laden Holden HX typified the tendency during the 1970s and of US manufacturers and their colonial off-shoots to take a fundamentally elegant design and, with a heavy-handed re-style, distort it into something ugly.  A preview of the later “malaise era” (so named in the US for many reasons), it was rare for a facelift to improve the original.  The 1971 HQ Holden was admired for an austerity of line and fine detailing; what followed over three subsequent generations lacked that restraint.  The HX LE was one of a number of "special" and "limited" editions offered during the era and it remains one of the few remembered.

Biscione

Biscione (pronounced bisch-sho-nee)

Pre 1100: An Italian word, the construct being bisci(a) (snake) +‎ -one (the augmentative suffix).  Biscione is a masculine augmentative of the Italian feminine noun biscia (grass snake, a corrupted form of the Late Latin & Vulgar Latin bīstia), from bēstia (beast) of unknown origin.  Biscione is a noun; the noun plural biscioni (used in English also as bisciones).

(1) In heraldry, a heraldic device consisting of a large snake “giving birth” to a child through its mouth (not devouring the infant as it may appear).

(2) A surname of Italian origin.

The Biscione is known also as the vipera (viper) and in the Milanese dialect as the bissa.  In heraldry, the symbol is used as a charge (any emblem or device occupying the field of an escutcheon (shield)), over Argent (a tincture of silver which appears usually as a shade of white) and often in Azure (a range of blue).  The snake is depicted in the act of “giving birth” to a human through its mouth and while anatomically improbable, it was doubtless always understood and something symbolic.  Historically, what emerged was depicted as a child but in the more sensitive twentieth century this tended to be blurred into something recognizable merely as “human of no distinct age or gender”.  It has been the emblem of the Italian Visconti family for almost a millennium.

A biscione used by the Visconti family for crests and costs of arms.

The origins of the symbol are obscure but there are the inevitable (and of the fanciful) medieval tales including that it was (1) taken as a prize of war from a standard or shield of a Saracen killed by Ottone Visconti (1207–1295; Archbishop of Milan 1262-1295 and the founder of the Visconti dynasty) during the Barons' Crusade (1239-1241) or (2) to honor Ottone Visconti for having killed the drake Tarantasio, an enormous snake which dwelled in Milan’s now vanished Lake Gerundo and ate the local children; the serpent feared also because its venomous breath polluted the water and made men ill.  Less bloodthirsty (and thus less popular) is the story it all began with a bronze souvenir in the shape of a serpent, brought to the city from Constantinople (modern-day Istanbul in the Republic of Türkiye) by Arnolf II of Arsago (circa 950-1018; Archbishop of Milan 998-1018).  It’s said the archbishop used the symbol wisely during the episcopate and it became so associated with Milan the city and its citizens embraced its use.  Most prefer the tale from the thirteenth century Crusade and it would explain why the child was often said to be “a moor”.

Although it’s not thought related, serpents have much occupied the minds of those in Christendom, notably the one coiled around the lush foliage in the Garden of Eden who tempted Eve with forbidden fruit, her weakness leading to the downfall of mankind and our eternal sin, thus establishing one of the central tenants of the Church: Women are to blame for everything bad.  There’s also a reference to beasts and a new-born child about to be devoured in the vivid imagery of chapter 12:1-4 in the New Testament’s Book of Revelation (King James Version (KJV, 1611)):

1 And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars:

2 And she being with child cried, travailing in birth, and pained to be delivered.

3 And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads.

4 And his tail drew the third part of the stars of heaven, and did cast them to the earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born.

Not wholly improbable as an Eve for the third millennium, while on holiday in Thailand, just after Christmas 2017, Lindsay Lohan was bitten by a snake and while said to have made a full recovery, there was never any word on fate of serpent.  The syndicated story on the internet attracted comment from the grammar Nazis who demanded it be verified the snake really was on holiday in Thailand.

Alfa Romeo and the biscione

Alfa Romeo Automobiles SpA is based in the northern Italian city of Turin and for much of the twentieth it wrote an illustrious history on road and track before losing its way in the 1980s; it’s now one of the fourteen brands under the corporate umbrella of the multinational Stellantis (headquartered (for various reasons) in the Netherlands).  Alfa Romeo was founded in 1910 as A.L.F.A. (Anonima Lombarda Fabbrica Automobili (which translates literally as “the Anonymous car company of Lombardy”).  It was in 1915 A.L.F.A. was acquired by Italian Engineer Nicola Romeo (1876–1938) who in 1920 added his name and turned the company into an industrial conglomerate encompassing not only passenger & racing cars but also a product range as diverse as heavy machinery, aero engines and a bus & truck division.

Biscione bas relief, Piazza Duomo Oggiaro, Milan.

The Anonima (anonymous) was a reference to the legal structure of a “Società anonima” (S.A) which designated a class of limited liability company, a common device still in countries which have maintained the traditions of the Code Napoléon (the codified Napoleonic civil law (1804)).  Originally, it provided for shareholders remaining anonymous and able to collect dividends by surrendering coupons attached to their share certificates in an “over-the-counter” transaction, paid to whoever held the paper.  The attraction was the certificates could be transferred in secret and thus nobody (not the company management nor the regulatory authorities) necessarily knew who owned the shares.  That system was obviously open to abuse and abuse there was, tax evasion, money laundering, related party transactions and bribery soon rife, prompting governments to legislate and while SAs and the later SpAs (Società per azioni, most accurately translated as “joint-stock company”) no longer offer shareholders the same degree of anonymity, devices such as intricate structures made up of trusts, and holding companies can be used to at least obscure the identities of ultimate beneficiaries.  The tradition of concealment continues in many places, including common law jurisdictions in which the Code Napoléon was never part of the legal system.  Some are more helpful than others and although, despite the urban myth, it’s apparently never been possible to turn up at the counter of the famously “flexible” Delaware Division of Corporations and register an entity as being owned by "M. Mouse, D. Duck & E. Bunny", the US state is said still to be “most accommodating”.

Whether true or not, the industry legend is the Alfa Romeo logo was adopted because high on the wall of the Filarete Tower in Milan’s Piazza Castello were mounted several heraldic interpretations of the Biscione Visconteo, the coat of arms of the city of Milan and of the Visconti family which first ruled it in 1277 when Ottone Visconti assumed the Dominium Mediolanense (Lordship of Milan).  Late in 1910, waiting for the No. 14 tram to arrive for his journey home, was a draftsman from the A.L.F.A. design office and he was so taken with the symbol he sketched the first take of the corporate logo which remains in use to this day.  The biscione and a representation of Milan's official flag (a red cross on a white background) are the two elements which have remained constant in all nine version of the logos used in the last 115 years-odd.

The Alfa Romeo logo since 1910.

The original (1910-1915) version featured a biscione (either devouring or producing a child, Moor or Ottoman Turk (depending on which legend one prefers)) while the crown on the snake's head functioned to distinguish the official Milanese symbol from that used by the Visconti family for various escutcheons while the words ALFA at the top and MILANO at the bottom were separated by two figure-eight "Savoy Knots," a symbol of the royal House of Savoy, a branch of which reigned in Italy between unification in 1861 and the abolition of the monarchy in 1946.  The “Romeo” name was appended in 1920, reflecting the change in the corporate identity and in 1925, a gold laurel leaf surround was added to commemorate the Alfa Romeo P2’s victories in the European Grand Prix at Circuit de Spa-Francorchamps in Belgium and the Italian Grand Prix at Monza.

Alfa Romeo Typo 158s (Alfetta), 1950 British Grand Prix, Silverstone Circuit, England, May 1950.  The Alfettas finished 1-2-3.

When by referendum, the Italian people voted to establish a republic (the monarchy tainted by its support for the fascist regime (1922-1943) of Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943)), the knots from royal regalia were replaced by some nondescript waves but more obvious was the switch from the multi-color design to a simple gold-on-black, a change necessitated by the damage the country’s industrial capacity had suffered during the war, one victim of which was the factory producing the badges.  The simplified version was short-lived but suited the times because it was easier to mass-produce with the available machine tools and the heterochromatic look would return in 1950, the year the pre war Alfa Romeo tipo 158 (Alfetta) would prevail in the in inaugural Formula One World Championship, the tipo 159 retaining the driver’s title the following year.

Umberto II while Prince of Piedmont, a 1928 portrait by Anglo-Hungarian painter Philip Philip Alexius László de Lombos (1869–1937 and known professionally as Philip de László).  Note the ruffled collar and bubble pantaloons.

Umberto Nicola Tommaso Giovanni Maria di Savoia (1904–1983) was the last king of Italy, his reign as Umberto II lasting but thirty-four days during May-June 1946; Italians nicknamed him the Re di Maggio (May king) although some better-informed Romans preferred regina di maggio (May queen).  At the instigation of the US and British political representatives of the allied military authorities, in April 1944 he was appointed regent because it was clear popular support for Victor Emmanuel III (1869-1947; king of Italy 1900-1946) had collapsed.  Despite Victor Emmanuel’s reputation suffering by association, his relationship with the fascists had often been uneasy and, seeking means to blackmail the royal house, Mussolini’s spies compiled a dossier (reputably several inches thick), detailing the ways of his son’s private life.  Then styled Prince of Piedmont, the secret police discovered Umberto was a sincere and committed Roman Catholic but one unable to resist his "satanic homosexual urges” and his biographer agreed, noting the prince was "forever rushing between chapel and brothel, confessional and steam bath" often spending hours “praying for divine forgiveness.”  After a referendum abolished the monarchy, Umberto II lived his remaining 37 years in exile, never again setting foot on Italian soil.  His turbulent marriage to Princess Marie-José of Belgium (1906-2001) produced four children but historians consider it quite possible none of them were his.

Benito Mussolini in 1930 Alfa Romeo 6C 1750 SS, Rome, April 1931.  The 6C was in almost continuous production between 1927-1954, a few hundred made even during World War II (1939-1945).

In 1960 only detail changes to the logo were introduced but in 1972, not only did the wavy line vanish but so did “Milano”, a recognition the company had opened a new production plant at Pomigliano d'Arco near the southern city of Naples, built to construct the new Alfasud (the construct being Alfa + sud (south)), something encouraged (and subsidized) by the national government, anxious to reduce crime and unemployment in the south.  The Alfasud was an outstanding design but, for a variety of reasons including appalling industrial relation and political instability, the plant Neapolitan was beset by problems which were visited upon the unfortunate Alfasud, many of which rusted away with some haste.  As if to exorcise the memory of the Alfasud, in 1982 the design was again revised, producing what has to date proved the longest-lasting iteration, remaining in use until 2014.  It was essentially a modernization exercise, the graphics simplified and the font switched to the starker Futura font, the revision in 2015 more subtly austere still.

1969 Alfa Romeo Giulia Super Biscione.

The “Biscione” version (1969-1973) of the Alfa Romeo Giulia (type 105, 1962-1978) was mechanically identical to other Giulias built at the same time, the package exclusively a trim level, the same concept Ford used in their “Ghia” ranges, the badge added to various blinged-up models between 1973-2008.  The trim features which appeared on the Biscione Giulias weren’t always exclusive, some appearing at various times on other Giulias but there seems to have been a standard specification for the Bisciones (that plural form preferable in this context) and all included:

A sunken Alfa Romeo badge on the trunk (boot) lid.
A chrome centre strip on the hood (bonnet).
Chrome strips on A pillar & roof.
Chrome spears on the rockers (used also on the Berlina models and different from those on other Gulias).
Green snake badges (ie biscioni) on the C pillars (external).
A partially black headliner.
Chrome surroundings on the B pillar interior light switches.
Velour & moquette used for floor coverings rather than rubber mats.

Silvio Berlusconi, Fininvest and the biscione.

M2 corporate logo (left) and Fininvest corporate logo (right).

Finanziaria di Investimento-Fininvest SpA (Fininvest) is a holding company which holds the equity division of the Berlusconi family.  It was founded in by the estimable Silvio Berlusconi (1936-2023; prime minister of Italy 1994-1995, 2001-2006 & 2008-2011) who has thus far proved irreplaceable in the part he played on the European political stage.  Like many things associated with Mr Berlusconi, Fininvest has not been without controversy including intriguing accounts of the way its initial capital was provided in physical cash (unfortunately whether the bundles of lira notes were emptied from suitcases, paper bags or potato sacks has never been disclosed) and the curious phenomena of the way in which laws under which the company or its founder were facing charges mysteriously were repealed prior to the cases going to trial.  Fininvest is now chaired by Mr Berlusconi’s oldest daughter, Maria "Marina" Berlusconi (b 1966).

Heterochromatic

Heterochromatic (pronounced het-er-uh-kroh-mat-ik or het-er-oh-kruh-mat-ik)

(1) Of, having, or pertaining to more than one color (especially as related to relating to heterochromia (in medicine & ophthalmology, the anatomical condition in which multiple pigmentations or colorings occur in the eyes, skin or hair).

(2) Having a pattern of mixed colors.

(3) Of light, having more than one wavelength.

(4) In genetics, of or relating to heterochromatin (in cytology, tightly coiled chromosome material; believed to be genetically inactive).

1890–1895: The construct was hetero- + chromatic + -ic.  The hetero- prefix was from the Ancient Greek ἕτερος (héteros) (the other (of two), another, different; second; other than usual) and was itself an ancient compound, the first element meaning "one, at one, together", from the primitive Indo-European root sem- (one; as one, together with), the second cognate with the second element in the Latin al-ter, the Gothic an-þar and the Old English o-ðer "other."  It's familiar in constructs such as “heterosexual”, “heterogeneity” et al.  In Classical Greek, there was quite a range of application including Heterokretes (true Cretan (ie one bred from the old stock)), heteroglossos (of or from a foreign language), heterozelos (zealous for one side (ie “one-eyed” in the figurative sense)), heterotropos (of a different sort or fashion (literally “turning the other way”) and the useful heterophron (raving (literally “of other mind” (ie “he’s barking mad”))).  The adjective chromatic dates from the turn of the seventeenth century and was used first of music in the sense of “involving tones foreign to the normal tonality of the scale, not diatonic” and was from the Latin chromaticus, from the Ancient Greek khrōmatikos (relating to color, suited for color) (which was applied also to music), from khrōma (genitive khrōmatos) (color, complexion, character (but used mostly metaphorically of embellishments in music); the original meaning was “skin, surface”.  In the Greek, khrōma was used also for certain modifications of the usual diatonic music scale but quite why it came to be used of music remains unclear, the most supported speculation being the influence of the extended sense of khrōma ("ornaments, makeup, embellishments) via the idea of it being “characteristic” of a musical scale or speech.  The -ic suffix was from the Middle English -ik, from the Old French -ique, from the Latin -icus, from the primitive Indo-European -kos & -ḱos, formed with the i-stem suffix -i- and the adjectival suffix -kos & -ḱos.  The form existed also in the Ancient Greek as -ικός (-ikós), in Sanskrit as -इक (-ika) and the Old Church Slavonic as -ъкъ (-ŭkŭ); A doublet of -y.  In European languages, adding -kos to noun stems carried the meaning "characteristic of, like, typical, pertaining to" while on adjectival stems it acted emphatically; in English it's always been used to form adjectives from nouns with the meaning “of or pertaining to”.  A precise technical use exists in physical chemistry where it's used to denote certain chemical compounds in which a specified chemical element has a higher oxidation number than in the equivalent compound whose name ends in the suffix -ous; (eg sulphuric acid (H₂SO₄) has more oxygen atoms per molecule than sulphurous acid (H₂SO₃).  Heterochromatic, heterochrome & heterochromous are adjectives, heterochrony, heterochromia & heterochromatism are nouns and heterochromatically is an adverb; the noun plural is heterochromias.

The obvious synonym is monochromatic (although is modern use that’s come often to mean “black & white” rather than “a single color”.  The -mono- prefix was from the Ancient Greek μόνος (mónos) (alone, only, sole, single), from the Proto-Hellenic mónwos and the ending may be compared with οἶος (oîos) (only, single) from óywos.  The etymology of the initial element remains murky but may be from the primitive Indo-European men- (small) and it may be compared with the Ancient Greek μανός (manós) (sparse, rare), the Armenian մանր (manr) (slender, small) and even the Proto-West Germanic muniwu (small fish, minnow).  The sense it’s understood in photography dates from 1940 when (presumably almost instantly), the verbal shorthand became “mono”, exactly the same pattern of use when the need arose to distinguish between color printers and those using only black consumables.  The word was used as an adjective after 1849 although monochromatic (of one color, consisting of light of one wavelength and probably based either on the French monochromatique or the Ancient Greek monokhrōmatos) had been used thus since at least 1807 (presumably it pre-dated this because the adverb monochromatically is documented since 1784).  The alternative forms are both self-explanatory: unicolour used usually single solids and monotint, rare and used mostly as a technical term in art-production where, properly, it describes a reproduction of a multi-color image using just shades of a single color.  Monochrome is a noun & adjective, monochromaticity, monochromy & monochromist are nouns, monochromic is an adjective and monochromatically is an adverb.

Sectoral heterochromia.

In medicine & ophthalmology, heterochromia describes a coloration variously of hair, skin and the eyes but it’s used most commonly of eyes.  At the cellular level, heterochromia is a function of the production, delivery, and concentration of the pigment melanin and the condition may be inherited or caused by genetic mosaicism, chimerism, disease, or injury.  It is not uncommon in certain breeds of domesticated animals (notably those subject to breeding programmes which tend to reduce the gene pool and cats with a predominantly white coat).  In clinical use heterochromia of the eye is known as heterochromia iridum or heterochromia iridis and can be complete, sectoral, or central.  The complete heterochromia is the best known by virtue of being the most photogenic for Instagram and other purposes: it exists when one iris is a wholly different color from the other.  In sectoral heterochromia, part of one iris is a different color from the rest while in central heterochromia, typically there is a ring around the pupil (less commonly seen as spikes radiating from the pupil) in a different color.

Ms Amina Ependieva (b 2008, left) was born in Grozny, the capital city of Chechnya, Russia; she has two rare, genetic conditions: (1) albinism which reduces the quantity the pigment melanin in the skin and (2) heterochromia, the latter manifesting as her having with one blue and one brown eye.  Ms Ependieva was photographed in 2019, aged eleven.  Alkira (b 2015, right) is a Persian cat with heterochromia, felines with predominately white coats the most prone to the condition; in domestic cats, it's most common for them to have one yellow and one blue eye.  The condition does not affect vision.

Bilateral gynandromorphs: butterfly (left), bird (centre) & lobster (right).  The visually related phenomenon is gynandromorphism (an organism (most typically an insect, crustacean or bird) with both male and female attributes & characteristics, the construct being the Ancient Greek γυνή (gynē) (female) + ἀνήρ (anēr) (male) + μορφή (morphē) (form).  In Western science it was first extensively documented in (notably where it was most obvious: in Lepidoptera (butterflies and moths)) but it has since been identified in literally dozens of species.

Lindsay Lohan likes the heterochromatic look, whether in the vertical (Mercedes-Benz Fall 2004 Fashion Week, Smashbox Studios, Culver City, California, September, 2003, left), the horizontal (Maxim Hot 100 Party, Gansevoort Hotel, New York, May 2007, centre) or the variegated (ABC’s Good Morning America studios, New York, November 2022, right).

1985 BMW 635CSi (E24, 1976-1989) with heterochromatic headlights.

In Europe and beyond, yellow headlights are still seen because although few jurisdictions still mandate their use, for some they’ve become an aesthetic choice.  Between 1936-1993, French law required all vehicles to have yellow headlights, the intent being to reduce glare and improve visibility in foggy or rainy conditions, the science being the belief yellow light (which has a longer wavelength) reduced eye strain and made driving at night safer by “cutting through” mist and fog more effectively than white light.  The German philosopher Goethe (Johann Wolfgang von Goethe (1749–1832)) was said to be heterochromatic and he was interested in eyes & color, in 1810 publishing a 1,400-page treatise on the topic, asserting he was the first to questioned the validity of Sir Isaac Newton’s (1642–1727) ideas about light and color: “That I am the only person in this century who has the right insight into the difficult science of colors, that is what I am rather proud of, and that is what gives me the feeling that I have outstripped many.”  Goethe did misinterpret the results of some of Newton’s experiments, thinking he was explaining their invalidity but he did reformulate the topic of color in an entirely new way.  While Newton had viewed color as a physical “process” in which light entered the eye after striking and reflecting off an object, Goethe was the first to explain the sensation of color is shaped also by our perception (the mechanics of human vision and by the way our brains process information (the eyes being an out-growth of the brain).  So, explained Goethe, what we see is a construct of (1) the properties of the object, (2) the dynamics of lighting and (3) our perception.

Osphresiolagnia

Osphresiolagnia (pronounced aus-free-see-a-lan-gee-ah)

A paraphilia characterized by recurrent sexually arousing fantasies, sexual urges, or behaviour involving smells.

Early-mid twentieth century: A coining in clinical psychiatry the construct being osphres(is) + lagina.  Osphresis was from the Ancient Greek ὀσφρῆσις (osphrēsis) (sense of smell; olfaction).  Lagina was from the Ancient Greek λαγνεία (lagina) (lust; sexual desire), from λᾰγνός (lagnos) (lustful; sexually aroused).  Osphresiolagnia thus translated literally as “lust or sexual arousal related to or induced by one’s sense of smell”. Osphresiolagnia & Osphresiolagnism are nouns and osphresiolagnic is a noun & adjective; the noun plural is Osphresiolagnias.

The synonym is olfactophilia (sexual arousal caused by smells or odors, especially from the human body) and in modern clinical use, that’s seems now the accepted form.  Although now rare, in clinical use a renifleur was paraphiliac who derived sexual pleasure from certain smells.  Renifleur was from the French noun renifleur (the feminine renifleuse, the plural renifleurs), the construct being renifler +‎ -eur.  The construct of the verb renifler was re- (used in the sense of “to do; to perform the function”) + nifler (to irritate, to annoy); it was from the same Germanic root as the Italian niffo & niffa (snout) and related to the Low German Niff (nose, mouth, bill), the Dutch neb (nose, beak) and the English neb (nose, beak, face).  The French suffix -eur was from the Middle French, from the Old French -eor or -or, from the Latin -ātōrem & -tor and a doublet of -ateur.  It was used to form masculine agent nouns from verbs (some of which were used also as adjectives).

Pioneering Austrian psychoanalyst Sigmund Freud (1856-1939) never developed his hypothesis of osphresiolagnia into a fully-developed theory and in his papers it’s mentioned only as an aspect of the psychoanalytic exploration of human sexuality, specifically focusing on the role of olfactory stimuli (sense of smell) in sexual arousal.  It was part of a body of work in which he explored his concept of fetishism and infantile sexuality.  In psychoanalysis, osphresiolagnia described the condition (“the state” might now be thought a better way of putting it) where certain smells become associated with sexual pleasure or arousal and to Freud these naturally were those related to bodily functions, such as sweat, skin, or other natural odors because he believed different sensory experiences, including smell, could become a focus of sexual fixation, particularly if something in early psychosexual development caused this association.  The tie-in with fetishism was that an obsessive focus on the sense of can form as a way of displacing or substituting more normative sexual interests.  Freud spoke also of the significance of the senses (including smell) in early childhood development and linked them to psychosexual stages, where early experiences with stimuli can influence later adult sexuality and while he didn’t use the word, he believed a smell associated with some significant childhood experience, could, even decades later, act as a “trigger”.  Although it’s been in the literature for more than a century, osmophresiolagnia (also now sometimes called “olfactory stimulation”) seems to have aroused more clinical and academic interest in the last fifteen years and while the psychological and physiological responses to certain smells have been well-documented, it was usually in the context of revulsion and the way this response could influence the decision-making processes.  However, positive responses can also be influential, thus the renewed interest.

In medicine and the study of human and animal sexuality, the significance of “olfactory attraction” has been researched and appears to be well understood.  At its most, the idea of olfactory attraction is that animals (including humans) can be attracted to someone based on scent; in the patients seen by psychiatrists, they can also be attracted to objects based on their smell, either because of their inherent quality or by their association with someone (either someone specific or “anyone”.  The best known aspect of the science is the study of pheromones (in biology A chemical secreted by an animal which acts to affects the development or behavior of other members of the same species, functioning often as a means of attracting a member of the opposite sex).  Human pheromones have been synthesised and are available commercially in convenient spray-packs for those who wish to enhance their desirability with a chemical additive.  More generally, there is also the notion of “fragrance attraction” which describes the allure another’s smell (either natural or the scent they wear) exerts and this can manifest in “objective transference” (keeping close during periods of absence a lover’s article of clothing or inhaling from the bottle of perfume they wear.

The opposite of being attracted to a smell is finding one repellent.  What is known in the profession technically as ORS (olfactory reference syndrome) has never been classified as a separate disorder in either the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) or the World Health Organization’s (WHO) International Classification of Diseases (ICD).  The DSM-III-R (1987) did mention ORS in the context of “aversion”, noting “convictions that the person emits a foul odor…are one of the most common types of delusional disorder, somatic type”, the idea extended in DSM-IV (1994) which referred to the concept as a type of delusional disorder, somatic type, although the term “olfactory reference syndrome” was not mentioned.

In October 2024, it was reported by Greek news services that a court in Thessaloniki (the capital of the Macedonia region and Greece's second city) in the north of the country had imposed a suspended one-month prison sentence on a man convicted of “…disturbing his neighbors by repeatedly sneaking into their properties to smell their shoes.”  According to the AP (Associated Press), the 28-year-old man was unable to explain his behaviour although he did tell the court he was “embarrassed by it”, adding that he had “…no intention of breaking the law or harming anybody…” and his neighbours did testify he never displayed any signs of aggression during his nocturnal visits to the shoes, left outside the door to air.  The offences were committed in the village of Sindos, some 15 kilometres (9 miles) west of Thessaloniki and the police were called only after the man had ignored requests sent to his family that his conduct stop.  According to the neighbours, there had in the last six months been at least three prior instances of shoe sniffing.  In addition to the suspended sentence, the defendant was ordered to attend therapy sessions.

The postman always sniffs twice, Balnagask Circle, Torry, Aberdeen, Scotland, August 2024.  Helpfully, the video clip was posted by the Daily Mail and from his grave of a hundred-odd years, old Lord Northcliffe (Alfred Harmsworth, 1865–1922) would be delighted.

Osphresiolagnia is however not culturally specific and in August 2024, a postman delivering mail to an address on Balnagask Circle in the Torry area of South Aberdeen, Scotland was captured on a doorbell camera, pausing to “to sniff girl's shoes”.  All appeared normal until the osphresiolagnic servant of the Royal Mail had put the letters in the slot but then he turned and, after a grief glance at the shoe rack, bent down and picked up a white trainer which he sniffed before leaving to resume his round (and possibly his sniffing).  The mother of the girl whose shoes fell victim to the postman posted the video on social media, tagging the entry: “I would just like to let everyone know just to watch out for this postman; he sniffed my daughter's shoes; what an absolute creep.”  The clip came to the attention of the Scottish police which issued a statement: “We received a report of a man acting suspiciously in the Balnagask Circle area of Aberdeen.  Enquiries were carried out and no criminality was established. Suitable advice was given.”  It wasn’t made clear what that advice was or to whom it’s been delivered but presumably the constabulary’s attitude was no shoe being harmed during this sniffing, all’s well that ends well.

Shoe-sniffing should not be confused with Podophilia (a paraphilia describing the sexualized objectification of feet (and sometimes footwear), commonly called foot fetishism although the correct clinical description is now “foot partialism”).  The construct was podo- +‎ -philia.  Podo- (pertaining to a foot or a foot-like part) was from the Ancient Greek πούς (poús), from the primitive Indo-European pṓds.  It was cognate with the Mycenaean Greek po, the Latin pēs, the Sanskrit पद् (pad), the Old Armenian ոտն (otn) & հետ (het), the Gothic fōtus and the Old English fōt (from which Modern English gained “foot”).  It was Sigmund Freud who admitted that, lawfulness aside, as animals, the only truly aberrant sexual behavior in humans could be said to be its absence (something which the modern asexual movement re-defines rather than disproves).  It seemed to be in that spirit the DSM-5 (2013) was revised to treat podophila and many other “harmless” behaviors as “normal” and thus within the purview of the manual only to the extent of being described, clinical intervention no longer required.  Whether all psychiatrists agree with the new permissiveness isn’t known but early reports suggest there’s nothing in the DSM-5-TR (2022) to suggest podophiles will soon again be labeled as deviants.

Point of vulnerability to osphresiolagnism: Lindsay Lohan taking off her shoes and putting them on the shoe rack.  The photo shoot featured Ms Lohan as a nueva embajadora de Allbirds (new Allbirds ambassador), in a promotion for Allbirds (Comfortable, Sustainable Shoes & Apparel) and the shoes are the Tree Flyer in Lux Pink which include “no plastics” in their construction.  The photo session may have been shot on a Wednesday.

Shoe sniffing is different and clinicians define it as an instance of “intimacy by proxy” in a similar class to those who steal women’s underwear from their clothes lines; an attempt to in some way be associated with the wearer.  This differs from those with an interest in shoes or the garments as objects because they can fulfil their desires (conveniently & lawfully), by buying what they want from a shop.  How prevalent are such proclivities isn’t known because, being lawful (and in most cases presumably secret) fetish, unless self-reported, clinicians would never become aware of the activity.

Quartervent

Quartervent (pronounced kwawr-ter-vent)

A small, pivoted, framed (or semi-framed) pane in the front or rear side-windows of a car, provided to optimize ventilation.

1930s: The construct was quarter + vent.  Dating from the late thirteenth century, the noun quarter (in its numerical sense) was from the Middle English quarter, from the Anglo-Norman quarter, from the Old French quartier, from the Latin quartarius (a Roman unit of liquid measure equivalent to about 0.14 litre).  Quartus was from the primitive Indo-European kweturtos (four) (from which the Ancient Greek gained τέταρτος (tétartos), the Sanskrit चतुर्थ (caturtha), the Proto-Balto-Slavic ketwirtas and the Proto-Germanic fedurþô).  It was cognate to quadrus (square), drawn from the sense of “four-sided”.  The Latin suffix –arius was from the earlier -ās-(i)jo- , the construct being -āso- (from the primitive Indo-European -ehso- (which may be compared with the Hittite appurtenance suffix -ašša-) + the relational adjectival suffix -yós (belonging to).  The suffix (the feminine –āria, the neuter -ārium) was a first/second-declension suffix used to form adjectives from nouns or numerals.  The nominative neuter form – ārium (when appended to nouns), formed derivative nouns denoting a “place where stuff was kept”.  The Middle English verb quarteren, was derivative of the noun.  Dating from the mid fourteenth century, vent was from the Middle English verb venten (to furnish (a vessel) with a vent), a shortened form of the Old French esventer (the construct being es- + -venter), a verbal derivative of vent, from the Latin ventus (wind), in later use derivative of the English noun.  The English noun was derived partly from the French vent, partly by a shortening of French évent (from the Old French esvent, a derivative of esventer) and partly from the English verb.  The hyphenated form quarter-vent is also used as may be preferable.  Quartervent is a noun; the noun plural is quartervents.  In use, the action of using the function provided by a quartervent obviously can be described with terms like quarterventing or quartervented but no derived forms are recognized as standard.

The 1959 Cadillac Eldorado Biarritz of course had quarter vents (“vent windows” to the Americans) but unlike most in the world, they were electrically-activated.  This was a time when the company's slogan “Standard of the World” really could be taken seriously.

The now close to extinct quarter vents were small, pivoted, framed (or semi-framed) panes of glass installed in the front or rear side windows of a car or truck; their purpose was to provide occupants with a source of ventilation, using the air-flow of the vehicle while in motion.  The system had all the attributes of other admirable technologies (such as the pencil) in that it was cheap to produce, simple to use, reliable and effective in its intended purpose.  Although not a complex concept, General Motors (GM) in 1932 couldn’t resist giving the things an impressively long name, calling them “No Draft Individually Controlled Ventilation” (NDICV being one of history’s less mnemonic initializations).  GM’s marketing types must have prevailed because eventually the snappier “ventiplanes” was adopted, the same process of rationality which overtook Chrysler in 1969 when the public decided “shaker” was a punchier name for their rather sexy scoop which, attached directly to the induction system and, protruding through a carefully shape lacuna in the hood (bonnet), shook with the engine, delighting the males aged 17-39 to whom it was intended to appeal.  “Shaker” supplanted Chrysler’s original “Incredible Quivering Exposed Cold Air Grabber” (IQECAG another dud); sometimes less is more.  Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) suggested a good title for his book might be Viereinhalb Jahre [des Kampfes] gegen Lüge, Dummheit und Feigheit (Four and a Half Years of Struggle against Lies, Stupidity and Cowardice) but his publisher thought that a bit ponderous and preferred the more succinct Mein Kampf: Eine Abrechnung (My Struggle: A Reckoning) and for publication even that was clipped to Mein Kampf.  Unfortunately, the revised title was the best thing about it, the style and contents truly ghastly and it's long and repetitious, the ideas within able easily to be reduced to a few dozen pages (some suggest fewer but the historical examples cited for context do require some space).

The baroque meets mid-century modernism: 1954 Hudson Italia by Carrozzeria Touring.  

Given how well the things worked, there’s long been some regret at their demise, a process which began in the 1960s with the development of “through-flow ventilation”, the earliest implementation of which seems to have appeared in the Hudson Italia (1954-1955), an exclusive, two-door coupé co-developed by Hudson in Detroit and the Milan-based Italian coachbuilder Carrozzeria Touring.  Although some of the styling gimmicks perhaps haven’t aged well, the package was more restrained than some extravagances of the era and fundamentally, the lines were well-balanced and elegant.  Unfortunately the mechanical underpinnings were uninspiring and the trans-Atlantic production process (even though Italian unit-labor costs were lower than in the US, Touring’s methods were labor-intensive) involved two-way shipping (the platforms sent to Milan for bodies and then returned to the US) so the Italia was uncompetitively expensive: at a time when the bigger and more capable Cadillac Coupe de Ville listed at US$3,995, the Italia was offered for US$4,800 and while it certainly had exclusivity, it was a time when there was still a magic attached to the Cadillac name and of the planned run of 50, only 26 Italias were produced (including the prototype).  Of those, 21 are known still to exist and they’re a fixture at concours d’élégance (a sort of car show for the rich, the term an unadapted borrowing from the French (literally “competition of elegance”) and the auction circuit where they’re exchanged between collectors for several hundred-thousand dollars per sale.  Although a commercial failure (and the Hudson name would soon disappear), the Italia does enjoy the footnote of being the first production car equipped with what came to be understood as “flow-through ventilation”, provided with a cowl air intake and extraction grooves at the top of the rear windows, the company claiming the air inside an Italia changed completely every ten minutes.  For the quartervent, flow-through ventilation was a death-knell although some lingered on until the effective standardization of air-conditioning proved the final nail in the coffin.

1965 Ford Cortina GT with eyeball vents and quartervents.

The car which really legitimized flow-through ventilation was the first generation (1962-1966) of the Ford Cortina, produced over four generations (some claim it was five) by Ford’s UK subsidiary between 1962-1982).  When the revised model displayed at the Earls Court Motor Show in October 1964, something much emphasized was the new “Aeroflow”, Ford’s name for through-flow ventilation, the system implemented with “eyeball” vents on the dashboard and extractor vents on the rear pillars.  Eyeball vents probably are the best way to do through-flow ventilation but the accountants came to work out they were more expensive to install than the alternatives so less satisfactory devices came to be used.  Other manufacturers soon phased-in similar systems, many coining their own marketing trademarks including “Silent-Flow-Ventilation”, “Astro-Ventilation” and the inevitable “Flow-thru ventilation”.  For the Cortina, Ford took a “belt & braces” approach to ventilation, retaining the quartervents even after the “eyeballs” were added, apparently because (1) the costs of re-tooling to using a single pane for the window was actually higher than continuing to use the quartervents, (2) it wasn’t clear if there would be general public acceptance of their deletion and (3) smoking rates were still high and drivers were known to like being able to flick the ash out via the quartervent (and, more regrettably, the butts too).  Before long, the designers found a way economically to replace the quartervents with “quarterpanes” or “quarterlights” (a fixed piece of glass with no opening mechanism) so early Cortinas were built with both although in markets where temperatures tended to be higher (notable South Africa and Australia), the hinged quartervents remained standard equipment.  When the Mark III Cortina (TC, 1970-1976) was released, the separate panes in any form were deleted and the side glass was a single pane.

Fluid dynamics in action: GM's Astro-Ventilation.

So logically a “quartervent” would describe a device with a hinge so it could be opened to provide ventilation while a “quarterpane”, “quarterlight” or “quarterglass” would be something in the same shape but unhinged and thus fixed.  It didn’t work out that way and the terms tended to be used interchangeably (though presumably “quartervent” was most applied to those with the functionality.  However, the mere existence of the fixed panes does raise the question of why they exist at all.  In the case or rear doors, they were sometimes a necessity because the shape of the door was dictated by the intrusion of the wheel arch and adding a quarterpane was the only way to ensure the window could completely be wound down.  With the front doors, the economics were sometimes compelling, especially in cases when the opening vents were optional but there were also instances where the door’s internal mechanisms (the door opening & window-winding hardware) were so bulky the only way to make stuff was to reduce the size of the window.

1976 Volkswagen Passat without quartervents, the front & rear quarterpanes fixed.

The proliferation of terms could have come in handy if the industry had decided to standardize and the first generation Volkswagen Passat (1973-1980) was illustration of how they might been used.  The early Passats were then unusual in that the four-door versions had five separate pieces of side glass and, reading from left-to-right, they could have been classified thus: (1) a front quarterpane, (2) a front side-window, (3) a rear side-window, (4) a rear quarterpane and (5) a quarterwindow.  The Passat was one of those vehicles which used the quarterpanes as an engineering necessity to permit the rear side-window fully to be lowered.  However the industry didn’t standardize and in the pre-television (and certainly pre-internet) age when language tended to evolve with greater regional variation, not even quarterglass, quartervent, quarterwindow & quarterpane were enough and the things were known variously also as a “fly window”, “valence window”, “triangle window” and “auto-transom”, the hyphen used and not.

1967 Chevrolet Camaro 327 with vent windows (left), 1969 Chevrolet Camaro ZL1 without vent windows (centre) and Lindsay Lohan & Jamie Lee Curtis (b 1958) in Chevrolet Camaro convertible during filming of the remake of Freaky Friday (2003) (provisionally called Freakier Friday), Los Angeles, August 2024.  The Camaro can be identified as a 1968 or 1969 model because the vent windows were deleted from the range after 1967 when “Astro-Ventilation” (GM’s name for flow-through ventilation) was added.  In North American use, the devices typically are referred to as “vent windows” while a “quarter light” is a small lamp mounted (in pairs) in the lower section of the front bodywork and a “quarter vent” is some sort of (real or fake) vent installed somewhere on the quarter panels.

Ford Australia’s early advertising copy for the XA Falcon range included publicity shots both with and without the optional quartervents (left).  One quirk of the campaign was the first shot released (right) of the “hero model” of the range (the Falcon GT) had the driver’s side quartervent airbrushed out (how “Photoshop jobs” used to be done), presumably because it was thought to clutter a well-composed picture.  Unfortunately, the artist neglected to defenestrate the one on the passenger’s side.

Released in Australia in March 1972, Ford’s XA Falcon was the first in the lineage to include through-flow ventilation, the previously standard quartervent windows moved to the option list (as RPO (Regular Production Option) 86).  Because it’s a hot place and many Falcons were bought by rural customers, Ford expected quite a high take-up rate of RPO86 (it was a time when air-conditioning was expensive and rarely ordered) so the vent window hardware was stockpiled in anticipation.  However, the option didn’t prove popular but with a warehouse full of the parts, they remained available on the subsequent XB (1973-1976) and XC (1976-1979) although the take-up rate never rose, less the 1% of each range so equipped and when the XD (1979-1983) was introduced, there was no such option and this continued on all subsequent Falcons until Ford ceased production in Australia in 2016, by which time air conditioning was standard equipment.