Bottomage

Bottomage (pronounced bot-uh m-ree)

In the marine insurance division of Admiralty law, a contract, of the nature of a mortgage, by which the owner of a ship borrows money to make a voyage, pledging the title of the ship as security.

1615-1625: From Middle English as as an addition to Admiralty law, modelled on the Dutch bodemerij, equivalent to bodem (bottom; hull of a ship) + -erij (–ry).  Bottom is from the Middle English botme & bottom (ground, soil, foundation, lowest or deepest part of anything), from the Old English botm & bodan (bottom, foundation; ground, abyss), from the Proto-Germanic buthm, butmaz & budmaz, from the primitive Indo-European bhudhno (bottom).  It was cognate with Old Frisian boden (soil), the Old Norse botn, the Dutch bodem, the Old High German & German Boden (ground, earth, soil), the Icelandic botn and the Danish bund and was related also to the Irish bonn (sole (of foot)), the Ancient Greek πυθμήν (puthmḗn or pythmen) (bottom of a cup or jar), the Sanskrit बुध्न (budhna) (bottom), the Avestan buna, the Persian بن‎ (bon) (bottom) and the Latin fundus (bottom, piece of land, farm), from which, via French, English gained “fund”. 

The suffix -age is from the Middle English -age, from the Old French -age, from the Latin -āticum.  Cognates include the French -age, the Italian -aggio, the Portuguese -agem, the Spanish -aje & Romanian -aj.  It was used to form nouns (1) with the sense of collection or appurtenance, (2) indicating a process, action, or a result, (3) of a state or relationship, (4) indicating a place, (5) indicating a charge, toll, or fee, (6) indicating a rate & (7) of a unit of measure.

The sense “posterior of a person (the sitting part)” is from 1794; the “verb to reach the bottom of” from 1808 and the expression “bottom dollar (the last dollar one has) is from 1857.  The meaning "fundamental character or essence" is from the 1570s and the variation “to get to the bottom of some matter” is from 1773; “bottoms up” as the call to finish one's drink is from 1875 while to do or feel something from “the bottom of (one's) heart” is from 1540s.  The bottom-feeder, originally a technical term in the classification of fishes, dates from 1866, the figurative sense ("one of the lowest status or rank" or an "opportunist who seeks quick profit usually at the expense of others or from their misfortune") noted from 1919.

On the bottom.

Bottomage (sometimes referred to as bottomry), is a financing arrangement in maritime law whereby the owner or master of a ship borrows money “upon the bottom (or keel) of it” with an agreement to forfeit the ship itself to the creditor if the loan and interest is not paid at the time nominated, after the ship's safe return.  The contracts tended to be executed when a ship in a foreign port needed emergency repairs and it wasn’t possible to arrange funds in other ways.  Now rare because developments in maritime law discounted the bottomage bond's priority as against other liens and improvements in communications made international money transfers more efficient.  Hardly used since the nineteenth century and now of only historic interest.

It was an unusual, hybrid form of financing and one almost wholly peculiar to the pre-modern sea-trade.  It wasn’t a conventional loan because the lender accepted part of the risk, ships sinking not infrequently.  Nor was it insurance because there was nothing which explicitly secured the risk to the merchant's goods.  Bottomage can be thought of as a type of futures contract in that the insurer has purchased an option on the venture's final profit.  The risk being greater, a bottomage bond giving no remedy to the lender against the owners of the ship or cargo personally, rates were always much higher than the historic trading average of around 12%.

Doctors' Commons (1808), the High Court of Admiralty in session, Designed and etched by Thomas Rowlandson (1757–1827) & Auguste Charles Pugin (1768–1832 London), aquatint by John Bluck (1791–1832), Lambeth Palace Library collection, London.

The Admiralty Court in England dates from the mid- fourteenth century and its creation appears linked to the victory of Edward III’s (1312–1377; King of England 1327-1377) fleet in the battle of Sluys in 1340, one of the opening engagements of the Hundred Years' War (1737-1453).  A specialist tribunal which appears to have been charged with keeping peace at sea and dealing with piracy, as the High Court of Admiralty it developed its own distinct procedures and practices and was attended by a specialist group of solicitors (called proctors), its advocates educated in civil rather than common law; those trained only in common law not permitted to appear.

Bottamage re-imagined, Lindsay Lohan at the beach.

The advocates of the Admiralty Court were all Doctors of Law and were variously described as belonging to the College of Advocates, the College of Civilians or the Society of Doctors' Commons and specialized in ecclesiastical and civil law.  They were admitted to practice by the Dean of Arches who served the Archbishop of Canterbury and, practicing from Doctors’ Commons, cluster of buildings on Knightrider Street between St Paul’s cathedral and the north bank of the Thames they were most concerned with Admiralty and Church law although the advocates also verified and stored documents such as wills and marriage and divorce certificates.  The Doctors’ Commons was unusual in that while it resembled a modern Inn of Court in that it housed a library, a dining hall and rooms from which lawyers practiced, it also contained a court-room where the Admiralty Judge sat.  The arrangement persisted until the reforms of the Victorian Judicature Acts (1873-1875), the College of Advocates abolished in 1865 and the High Court of Admiralty transferred to became part of the unified High Court in 1875 although the tradition of a specialist Admiralty Judge and a specialist Admiralty Bar continues to this day.

The symbol of the Admiralty Court is the Admiralty Oar, traditionally displayed in court when a trial is in progress.

After the passage of the Judicature Acts, Admiralty jurisdiction moved to the newly created division of Divorce, Probate and Admiralty, referred to within the profession as the 3W (wives, wills & wrecks) and this lasted until the 1970 Administration of Justice Act which shifted divorce to the Family Division and probate to Chancery.  The Admiralty Court became part of the Queen’s Bench Division and claims are now dealt with by one of its two judges: the Admiralty Judge and the Admiralty Registrar, the arrest and release of ships handled by the Admiralty Marshal.

Admiralty

Admiralty (pronounced ad-mer-uhl-tee)

(1) The office or jurisdiction of an admiral.

(2) The officials or the department of state having charge of naval affairs.

(3) In law, the branch dealing with maritime law; a court dealing with maritime questions (when jurisdiction was under the division of Divorce, Probate & Admiralty, the court was colloquially known by lawyers as “wives, wills & wrecks”).

(4) In (historic) architecture, a frequent descriptor (Admiralty House, Admiralty Arch etc).

1300–1350: A compound word Admiral + -ty, from the Middle English amiralty, from the French amirauté, from the older form amiralté (office of admiral), from the Late Latin admīrālitās.  The best known sense, “naval branch of the English executive" dates from the early-fifteenth century, root of the word being admiral.  Admiral emerged circa 1200 as amiral & admirail (Saracen commander or chieftain) from the Old French amiral & amirail (Saracen military commander; any military commander) ultimately from medieval Arabic amīr (military commander) probably via the Medieval Latin use of the word for "Muslim military leader".  The suffix –ty is from the Middle English -te, borrowed from the Old French -te, from the Latin -tātem, accusative masculine singular of –tās; an alternative form of –ity, it was used to form abstract nouns from adjectives.  The first English admiral to appear in the records appears to have been Admiral of the Fleet of the Cinque Ports, Gerard Allard of Winchelsea, a royal appointment in 1300.

The Arabic amīr was later Englished as emir.  In another example of Medieval error, because in Arabic use, amīr is constantly followed by -al- in all such titles, amīr-al- was assumed by Christian writers to be a substantive word and variously Latinized.  The process thus was a shortening of the Arabic أَمِير اَلبَحْر‎ (ʾamīr al-baḥr) (commander of the fleet; literally “sea commander”) and the additional -d- is probably from the influence of the otherwise unconnected Latin admirable (admīrābilis).

Admiralty Arch, London.

An island rather than a continental power and later an empire, for England, the navy assumed an importance in foreign policy standing armies never did and the Royal Navy’s high command, the Admiralty, was for centuries entangled in both military and political matters.  The Admiralty no longer exists, absorbed in 1964, like the high commands of the other services, into the newly created Ministry of Defense.

Over the centuries, the structure of the Admiralty evolved as technology changed, threats and alliances came and went, budgets waxed and waned, political vicissitudes always hovering.  As a bureaucracy, the Admiralty has been staffed by a bewildering array of offices and titles including board members, presidents, sea lords, secretaries, civil lords, controllers, comptrollers, accountants-general, directors-general, storekeepers-general, surveyors, deputy chiefs, vice chiefs & assistant chiefs but in its final incarnation, under a First Lord of the Admiralty (a minister for the navy who sat in parliament and was thus political head of the navy) there were five admirals, known as the sea lords (of which there were eight lords during World War II; things were busy then).  The sea lords each enjoyed a sphere of responsibility for naval operations:

The First Sea Lord (later First Sea Lord and Chief of the Naval Staff), directed naval strategy in wartime and was responsible for planning, operations and intelligence, for the distribution of the Fleet and for its fighting efficiency.  He was the military head of the Navy.

The Second Sea Lord (later Second Sea Lord and Chief of Naval Personnel), was responsible for manning & mobilisation and all personnel questions relating to the Royal Navy and Royal Marines.

The Third Sea Lord (later the Controller of the Navy) was responsible primarily for ship design and construction and most material matters.

The Fourth Sea Lord (later Chief of Naval Supplies) was responsible for logistics, victualling and medical departments.

The Fifth Sea Lord (later the Chief of Naval Air Services) was responsible for all naval aviation.

Catwalk

Catwalk (pronounced kat-wawk)

(1) A narrow walkway, especially one high above the surrounding area, used to provide access or allow workers to stand or move, as over the stage in a theater, outside the roadway of a bridge, along the top of a railroad car etc; any similar elevated walkway.

(2) By extension, a narrow ramp extending from the stage into the audience in a theatre, nightclub etc, associated especially with those used by models during fashion shows (although the gender-neutral “runway” is now sometimes used in preference to “catwalk”).

(3) In nautical architecture, an elevated enclosed passage providing access fore and aft from the bridge of a merchant vessel.

(4) By extension, as "the catwalk", industry slang for the business of making clothes for fashion shows.

1874: The construct was cat + walk.  The use of catwalk to describe a long, narrow footway was a reference initially to those especially of such narrowness of passage that one had to cross as a cat walks.  It applied originally to ships and then theatrical back-stages, the first known use with a fashion show runway dating from 1942.  In architecture on land and at sea, the catwalk soon lost its exclusive association only with the narrow and came instead to be defined by function, used to describe any walkway between two points.  The noun plural is catwalks.  For both nautical and architectural purposes, the English catwalk was borrowed by many languages including Norwegian (Bokmål & Nynorsk) and Dutch and it’s used almost universally in fashion shows.  Some languages such as the Ottoman Turkish قات‎ use the spelling kat and some formed the plural as catz.

Cat (any member of the suborder (sometimes superfamily) Feliformia or Feloidea): feliform (cat-like) carnivoran & feloid or any member of the subfamily Felinae, genera Puma, Acinonyx, Lynx, Leopardus, and Felis or any member of the subfamily Pantherinae, genera Panthera, Uncia and Neofelise and (in historic use, any member of the extinct subfamily Machairodontinae, genera Smilodon, Homotherium, Miomachairodus etc, most famously the Smilodontini, Machairodontini (Homotherini), Metailurini, "sabre-toothed cat" (often incorrectly referred to as the sabre-toothed tiger) but now most associated with the domesticated species (Felis catus) of felines, commonly and apparently since the eight century kept as a house pet)) was from the Middle English cat & catte, from the Old English catt (male cat) & catte (female cat), from the Proto-West Germanic kattu, from the Proto-Germanic kattuz, from the Latin cattus.

Cat has most productively been applied in English to describe a wide variety of objects and states of the human condition including (1) a spiteful or angry woman (from the early thirteenth century but now almost wholly supplanted by “bitch” (often with some clichéd or imaginative modifier)), (2) An aficionado or player of jazz, (3) certain male persons (a use associated mostly with hippies or sub-set of African-American culture), (4) historic (early fifteenth century) slang for a prostitute, (5) in admiralty use, strong tackle used to hoist an anchor to the cathead of a ship, (6) in admiralty use, a truncated form of cat-o'-nine-tails (a multi-lash (not all were actually nine-tailed)) whip used by the Royal Navy et al to enforce on-board discipline), (7) in admiralty use, a sturdy merchant sailing vessel (long archaic although the use endures to describe the rather smaller "catboat", (8) as “cat & dog (cat being the trap), a archaic alternative name for the game "trap and ball", (9) the pointed piece of wood that is struck in the game of tipcat, (1) In the African-American vernacular, vulgar slang or the vagina, a vulva; the female external genitalia, (11) a double tripod (for holding a plate etc) with six feet, of which three rest on the ground, in whatever position it is placed, (12) a wheeled shelter, used in the Middle Ages as a siege weapon to allow assailants to approach enemy defenses, (13) in admiralty slang, to vomit, (14) in admiralty slang to o hoist (the anchor) by its ring so that it hangs at the cathead, (15) in computing, a program and command in the Unix operating system that reads one or more files and directs their content to the standard output (16) in the slang of computing, to dump large amounts of data on an unprepared target usually with no intention of browsing it carefully (which may have been a sardonic allusion of “to catalogue or a shortened form of catastrophic although both origins are unverified, a street name of the drug methcathinone, (17) in ballistics and for related accelerative uses, a shortened form of catapult, (18) for purposes of digital and other exercises in classification, a shortening of category, (19) an abbreviation of many words starting with “cat”) (catalytic converter, caterpillar (including as “CAT” by the manufacturer Caterpillar, maker of a variety of earth-moving and related machines)) catfish, etc, (20) any (non military-combat) caterpillar drive vehicle (a ground vehicle which uses caterpillar tracks), especially tractors, trucks, minibuses, and snow groomers.

Walk was from the Middle English walken (to move, roll, turn, revolve, toss), from the Old English wealcan (to move round, revolve, roll, turn, toss) & ġewealcan (to go, traverse) and the Middle English walkien (to roll, stamp, walk, wallow), from the Old English wealcian (to curl, roll up), all from the Proto-Germanic walkaną & walkōną (to twist, turn, roll about, full), from the primitive Indo-European walg- (to twist, turn, move).  It was cognate with the Scots walk (to walk), the Saterland Frisian walkje (to full; drum; flex; mill), the West Frisian swalkje (to wander, roam), the Dutch walken (to full, work hair or felt), the Dutch zwalken (to wander about), the German walken (to lex, full, mill, drum), the Danish valke & waulk), the Latin valgus (bandy-legged, bow-legged) and the Sanskrit वल्गति (valgati) (amble, bound, leap, dance).  It was related to vagrant and whelk and a doublet of waulk.

Walk has contributed to many idiomatic forms including (1) in colloquial legal jargon, “to walk” (to win (or avoid) a criminal court case, particularly when actually guilty, (2) as a colloquial, euphemistic, “for an object to go missing or be stolen, (3) in cricket (of the batsman), to walk off the field, as if given out, after the fielding side appeals and before the umpire has ruled; done as a matter of sportsmanship when the batsman believes he is out or when the dismissal is so blatantly obvious that the umpire’s decision is inevitable, (4) in baseball, to allow a batter to reach first base by pitching four balls (ie non-strikes), (5) to move something by shifting between two positions, as if it were walking, (6) (also as “to full”, to beat cloth to give it the consistency of felt, (6) in the slang of computer programming, to debug a routine by “walking the heap”, (7) in aviation, to operate the left and right throttles of an aircraft in alternation, (8) in employment, to leave, to resign, (9) in the now outlawed “sports” of dog & cock-fighting, to put, keep, or train (a puppy or bird) in a walk, or training area, (10) in the hospitality trade, to move a guest to another hotel if their confirmed reservation is not available at the time they arrive to check-in (also as to bump), (11) in the hospitality trade, as “walk-in”, a customer who “walks-in from the street” to book a room or table without a prior reservation, (12) in graph theory, a sequence of alternating vertices and edges, where each edge's endpoints are the preceding and following vertices in the sequence, (13) In coffee, coconut, and other plantations, the space between the rows of plants (from the Caribbean and most associated with  Belize, Guyana & Jamaica, (14) in orchids, an area planted with fruit-bearing trees, (15) in colloquial use, as “a walk in the park” or “a cakewalk”, something very easily accomplished (same as “a milk-run”) and (16) in the (now rare) slang of the UK finance industry, a cheque drawn on a bank that was not a member of the LCCS (London Cheque (check in the US) Clearance System), the sort-code of which was allocated on a one-off basis; they had to be "walked" (ie hand-delivered by messengers).

On the catwalk: Lindsay Lohan in a Heart Truth Red Dress during Olympus Fashion Week, Fall, 2006, The Tent, New York City.

How to walk like catwalk model

Traci Halvorson of Halvorson Model Management (HMM) in San Jose, California, has written a useful guide for those wishing to learn the technique of walking like a catwalk (increasingly now called the gender-neutral “runway”) model.  Although walking on a wide, stable flat surface, in a straight line with few other instructions except “don’t fall over”, doesn’t sound difficult, the art is actually a tightly defined set of parameters which not all can master.  Some models who excel at static shots and are well-known from their photographic work can’t be used on a catwalk because their gait, while within the normal human range, simply isn’t a “catwalk walk”.  It’s thus a construct, of clothes, shoes, style and even expression and catwalk models need to be adaptable, able to achieve essentially the same thing whether in 6-inch (150 mm) high stilettos or slippery-soled ballet flats; it’s harder than it sounds and as all models admit, nothing improves one’s technique like practice.

(1) The facial expression.  It sounds a strange place to start but it’s not because if the facial expression is unchanging it means it’s easier to focus on everything else, the rational being that humans use their range of facial expression to convey emotion and attitude but this all has to be neutralized to permit the photographers (paradoxically the audience is less relevant) to capture what are defined “catwalk” shots.  Set the chin to point slightly down though don’t hang the head; the angle should be almost imperceptible and it recommended to imagine an invisible string attached to the top of the head holding the chin in its set position.

(2) Do not smile.  Catwalk models do not smile because it draws attention away from the product although this does not mean looking miserable or unhappy; instead look “serious” and this usually is done by perfecting what is described as a “neutral” expression, one which would defy an observer being able to tell whether the wearer is happy or sad.  To achieve this, the single most important aspect is to keep the mouth closed in a natural position, something like what is recommended for a passport photograph and ask others to judge the look but as a note of caution, there will be failures because some girls just look sort of happy no matter what.  In most of life, this will be of advantage so a career other than the catwalk will beckon.

(3) On the catwalk, keep the eyes focused straight ahead.  This not only makes walking easier but also self-imposes a discipline which will help maintain the static facial expression.  Because the eyes are focused straight-ahead, it will stop the head moving and the look will be the desired one of alertness and purposefulness.  Some models recommend imagining a object moving in front of them and focus on that and in the situations where there’s a procession on the catwalk, it’s possible usually to fixate on some unmoving point on the model ahead.

(5) Don’t fall over.  It’s an obvious point but it does happen and usually, shoes are responsible, either because the nature of the construction has so altered the model’s centre of gravity or there's  contact between footwear and some flowing piece of fabric, either one’s own or one in the wake of the model ahead.  There is no better training to avoid “catwalk stacks” than to practice in a wide variety of shoe types.

(5) If possible, arrange a replica catwalk on which to practice, it need only to be a few paces long and arranged so the walk is towards a full-length mirror.  For side views, film using a carefully positioned camera and compare the result with footage of actual catwalk models at work.  If possible, work in pairs or a group because you’ll hone each other’s techniques but remember this is serious business and criticism will need to be frank; feelings may need to be hurt on the walk to the catwalk.

(6) Stand up straight, imagining the invisible string holding the head in place being also attached to the spine.  Keep the shoulders back but not unnaturally so, posture needs to be good but not stiff or exaggerated and a good posture can to some extent compensate for a lack of height.  Again, this needs to be practiced in front of a mirror and practice will improve the technique, the object being to stand straight while looking relaxed and comfortable.

(7) Perfecting the actual catwalk walk will take some time because, although it looks entirely natural when done by models, it’s not actually the “natural” way most people walk.  To train, begin purely mechanistically, placing one foot in front of the other and walking with (comfortably) long strides, the best trick being to mark a line on the floor with chalk and imagine walking on a rope, keeping one foot in front of the other, allowing the hips slightly to move from side to side; the classic model look.  With sufficient practice, what designers call the model’s “strut” will evolve and in conjunction with the other techniques, there’ll be a projection of assuredness and confidence.

(8) However, the hips need symmetrically and slightly to move, not swing.  Catwalk models are hired as platforms for clothes within a narrow dimensional range and this includes not only the cut of the fabric but also the extent it is required to move as the body moves and motion must not be exaggerated.  When practicing this, again it’s preferable to work in pairs or groups.

How it's done.  Catwalk models need to look good coming or going.

(9) Limit the movement of the arms when walking.  Let the arms hang at the sides with the hands relaxed, the swing of the limbs sufficient only to ensure the look is not unnaturally stylized and certainly nothing like that of most people on the street.  Many report when first practicing that there’s a tendency for the hands to clench into fists and that’s because of the discipline being imposed on other body parts but from the start, ensure the hands are relaxed, loosely cupped and with a small (natural) gap (something like ¼ inch (5-6 mm) between the fingers.  Allow the arms slightly to bend and they’ll sway (just a little) with the body.

(10) Practice specifically for the occasion.  Just as even the best tennis players have to practice on grass if they’ve just come off playing on clay or hard-courts, at least an hour before an actual catwalk session should be spent practicing in the same style of shoes as will be worn for the session(s).  This applies even if wearing something less challenging like flats because the change in weight distribution and the resultant centre of gravity is profound if the last few days have been spent in 6 inch (150 mm) heels.     

(11) Practice with different types of music because the catwalk walk really is an exercise in rhythm and if one can find a piece which really suits and makes the walk easier to perfect, if it’s possible to imagine that while on the catwalk, that’s good although sometimes there’s music at the shows and not all can focus on what’s in the head while excluding what’s coming through the speakers.

Traci Halvorson's instructions were of course aimed at neophytes wishing to learn the basic technique but among established models there are variations and the odd stake of the individualistic, the most eye-catching of which is the "fierce strut", a usually fast-paced and aggressive march down the catwalk while still using the classic one-foot-in-front-of-the-other motif which so defines the industry.  It's thus not quite Nazi-style goose-stepping or even the hybrid step used most enthusiastically by the female soldiers in the DPRK (North Korean) military but it's clearly strutting with intent.

Recent fierce struts on the catwalk (runway).

Fathom

Fathom (probounced fath-uhm)

(1) A unit of length equal to six feet (1.8288 m): used chiefly in nautical measurements and Admiralty papers.

(2) To measure the depth of by means of a sounding line; sound.

(3) In mining, a unit of volume usually equal to six cubic feet, used in measuring ore bodies (largely obsolete).

(4) In forestry, a unit of volume equal to six cubic feet, used for measuring timber (largely obsolete).

(5) To penetrate to the truth of; comprehend; understand.

Pre 900: From the Old English fæðm (length of the outstretched arm (a measure of about six feet), and figuratively, "power") from the Proto-Germanic fathmaz (embrace), related to the Old Norse faðmr (embrace) and the Old Saxon fathmos (the outstretched arms) and the Dutch vadem (a measure of six feet (1.8 m)).  The Middle English was fathme, cognate with the German Faden (a six-foot measure) and related to the Old English fæðmian (to embrace, surround, envelop), most forms at least influenced by the primitive Indo-European pot(ə)-mo-, a suffixed form of the root pete- (to spread).  Probable cognates included the Old Frisian fethem and the German faden (thread), the connection said to be the sense of "spreading out."  As a unit of measure, in an early gloss it appears for the Latin passus, which was about 5 feet (1.5 m).  The meaning "take soundings" is from circa 1600; its figurative sense of "get to the bottom of, understand" came some twenty years later.  The verb fathom was from the Old English fæðmian (to embrace, surround, envelop), from a Proto-Germanic verb derived from the source of the noun fathom, the cognates including the Old High German fademon and the Old Norse faþma.  The admiralty term fathomless (an adjective meaning literally "bottomless") is from the 1640s, later extended to figurative use (not to be comprehended).  Fathom is a noun and verb, fathomer & fathometer are nouns and fathomable, fathomless & (the predictably common) unfathomable are adjectives; the noun plural is fathoms.

The One-Hundred Fathom Line

UK Admiralty chart of the hundred fathom line, circa 1911.

The one-hundred fathom line is an Admiralty term for marking sea charts to delineate where the seabed lies at depths less or greater than 100 fathoms; it can thus be thought a particular expression of the continental shelf (though defined for military rather than geographical purposes).  Thus the distance from the coastlines of each land mass varies and it's related not at all to other boundaries established by the United Nation's (UN) Law of the Sea or other conventions such as territorial waters (historically 3 miles (5 km) and now 12 (20) or a state's Exclusive Economic Zone (EEZ) (200 (320)).  The hundred fathom line is now of little military significance (although it remains of interest to submariners) but it was cited as recently as 1952 in negotiations between the post-war Churchill (1951-1955) and Truman administrations (1945-1953) in defining the areas of preponderant operations for the Royal Navy and US Navy.

Lindsay Lohan GIF from A Beautiful Life (music video).  Although often photographed in the water, there's no evidence to suggest Ms Lohan has ever descended deeper than one fathom.

Dazzle

Dazzle (pronounced daz-uhl)

(1) To overpower or dim the vision of by intense light.

(2) Deeply to impress, to astonish with delight

(3) To awe, overwhelm, overpower, stupefy.

(4) To shine or brilliantly reflect.

(5) To excite admiration by a display of brilliance.

(6)To be overpowered by light.

(7) Something that dazzles.

(8) A form of camouflage used on early-mid twentieth century warships.

(9) The collective noun to describe zebras.

1475-1485: A frequentative of daze, the construct being daze + le, from the Middle English dasen, from the Old Norse dasa (as in dasask (to become weary)) and related to the Danish dase (to doze, mope).  1475-1485: Daze was a Middle English, back-formation from the Middle English dazed, from the Old Norse dasaðr (weary) & dasask (to become weary), from the Proto-Germanic dasōjan-, from the adjective daza-, which may have been a variant of the primitive Indo-European der- (to hold, support) and related to the Armenian դադարել (dadarel) (to settle, stop, end).  The -le suffix was a frequentative form from the Middle English -elen, -len & -lien, from the Old English -lian (the frequentative verbal suffix), from the Proto-Germanic -lōną (the frequentative verbal suffix) and was cognate with the West Frisian -elje, the Dutch -elen, the German -eln, the Danish -le, the Swedish -la and the Icelandic -la.  It was used as a frequentative suffix of verbs, indicating repetition or continuousness.

The original, fifteenth century, meaning was “be stupefied, be confused” which many dictionaries list as obsolete but there are certainly at least echoes of that sense in the modern use.  Originally intransitive; the transitive sense of “overpower with strong or excessive light” dates from the 1530s while the figurative sense of “overpower or excite admiration by brilliancy or showy display” is from the 1560s.  As a noun in the sense of “brightness, splendour”, it’s been known since the 1650s.  The verb bedazzle (to blind by excess of light) emerged in the 1590s but is now far more common in figurative use.  The late nineteenth century coining of “razzle-dazzle” originally suggested “bewilderment or confusion, rapid stir and bustle, riotous jollity or intoxication etc but came soon to be used of “deception, fraud; extravagant or misleading claims”.  At the turn of the twentieth century it was used also to mean “a state of confusion” but the modern trend is to use “razzle-dazzle” to mean anything flashy, especially unstructured, inventive performances on the sporting field.  Forms such as overdazzle, outdazzle, outdazzling, overdazzle, overdazzled, overdazzling, redazzle & undazzled have been coined as required.  The adjective antidazzle is commonly used in commerce (often as anti-dazzle).  Dazzle is a noun & verb, endazzlement, dazzlement & dazzler are nouns, bedazzle & (the archaic) endazzle are verbs, adazzle is an adjective, dazzling & dazzled are verbs & adjectives and dazzlingly is an adverb; the noun plural is dazzles.

Dazzling: Lindsay Lohan in zebra-print dress from Balmain's autumn-winter 2013 collection, GQ Men Of The Year Awards, London, September 2014.  Cohort, crossing, harem, herd and zeal have all been cited as the collective noun for zebras but most zoologists seem to prefer dazzle.

Developed first by the Royal Navy during World War I (1914-1918) to counter the German U-Boat (submarine) threat, dazzle camouflage for ships was a counterintuitive adaptation of techniques known to have been used during antiquity, the fleets of both the Greeks and Romans having been painted in shades of green and blue to blend with the surface and horizon.  The modern approach however was rather than concealment, the vessel would be exposed to the enemy.

View through periscope, with and without dazzle.

The British Admiralty adopted the scheme as an experiment.  It had been suggested in 1917 by a Royal Navy Volunteer Reserve (RNVR) lieutenant commander with a pre-war background in painting, his argument being that while it wasn’t possible actually to conceal a ship, a suitable paint scheme should make difficult the task of a submarine captain trying to estimate a vessel’s speed and direction while viewing through a periscope for a limited time and that was no easy task in 1917.  A U-Boat captain, while maintaining a distance from his target between around a quarter mile (400m) and a mile (1600m), had to predict the speed and direction of the target’s travel while factoring in ocean currents which could affect a torpedo’s travel, all within the short time he could risk his periscope being visible above the surface.  The dazzle concept of camouflage differed from traditional methods of concealment in that it sometimes made the target actually easier to see but tried instead to make it harder to sink.  A U-Boat carried very few torpedoes and they couldn't be wasted.  The captain had to hit a moving target, often in a rolling sea and to maximize the chance of success, needed the torpedo to hit the ship in her most vulnerable spots and this was done by aiming not at where the target was, but where the target would be more than half a minute later.  The idea of the dazzle was not to hide the ship but to make it even harder for a U-Boat commander to estimate variables like direction and speed of travel.    

After encouraging findings in small-scale tests, the admiralty authorised trials and artists experimented with both colours and shapes, intending usually to distort the perception of the shape of the bow and stern, disrupting perspective and falsely suggesting a ship’s smokestacks or superstructure pointed in a different direction than truly it sat on the water.  Many of the ideas were shamelessly borrowed from modernist art, especially the concepts of cubism, a theft so blatant that Pablo Picasso (1881–1973), in conversation with the American poet and novelist Gertrude Stein (1874–1946), observed the Cubist movement deserved some credit from the Admiralty.

A Dazzled dreadnought, 1919.

The programme spread to merchant vessels and then across the Atlantic.  Soon thousands of ships were painted in lurid colour schemes but unfortunately, the extensive archive of photographs from this era are mostly monochrome which not only fail fully to capture the vivid variety of the artists’ work but also don’t convey the contrasts created by the blues, reds, greens, purples and greys light & dark which created the optical illusions.  Both navies undertook analysis of the losses in shipping to evaluate the effectiveness of dazzle but the results, so impressive in laboratory conditions, were inconclusive, it being statistically impossible to account for external factors but U-Boat captains interviewed after the war attested to the problems dazzle created for them.

RMS Titanic's sister ship, RMS Olympic in dazzle, Pier 2 in Halifax, Nova Scotia, Canada, 1918.  Painting by Arthur Lismer (1885–1969)

Despite there being no consensus about the advantage of dazzle, allied naval authorities continued to employ it on both some warships and merchant fleets in World War II (1939-1945).  The Imperial German Navy had shown little interest in camouflaging ships during the Great War but did adopt a variation of dazzle early in World War II although OKM’s ((Oberkommando der Marine, High Command of the Kriegsmarine (Navy)) designs were intended to disguise the identity of a ship from surface and air observation rather than raise doubts about speed or direction.  It’s not documented why this was abandoned by OKM but, after 1941, all naval assets were repainted in regulation shades of grey.

Although never as widely used as in 1917-1918, allied navies retained faith in the subterfuge throughout the war although this time it was the Americans who were much more systematic and it wasn’t until late in 1942 the Admiralty released their Intermediate Disruptive Pattern and not until 1944 was a Standard Scheme promulgated.  Wartime developments in radar were already reducing the effectiveness of dazzle and this was accelerated by post-war advances in range-finding which rendered dazzle wholly obsolete.  For decades after 1946, no dazzle schemes were commissioned but (much toned-down) aspects of the idea have in recent years been interpolated into modern "stealth" naval architecture.

Athwart

Athwart (pronounced uh-thwawrt)

(1) From side to side; crosswise, transversely.

(2) In admiralty use, at right angles to the fore-and-aft line; across.

(3) Perversely; awry; wrongly.

1425-1475: From the Late Middle English athwart and a proclitic form of preposition; the construct was a + thwart.  The a prefix is from the Old English an (on) which in Middle English meant “up, out, away”, both derived from the Proto-Germanic uz (out), from the primitive Indo-European uds (up, out); cognate with the Old Saxon ā which endures in Modern German as the prefix er.  Thwart is from the Middle English thwert, a borrowing from Old Norse þvert (across), originally the neuter form of þverr (transverse, across), from the Proto-Germanic þwerhaz, altered or influenced by þweraną (to turn) and þerh, from the primitive Indo-European twork & twerk (to twist).  Cognates include the Old English þweorh (transverse, perverse, angry, cross), the Danish tvær, the Gothic þwaírs (angry), the West Frisian dwers (beyond, across, to the other side of), the Dutch dwars (cross-grained, contrary), the Low German dwars (cross-grained, contrary) and the German quer (crosswise; cross).  The modern English queer is related.  Although still used by poets good and bad, the word is probably obsolete for all purposes except historic admiralty documents.

Admiralty use.

Samuel Taylor Coleridge (1772-1834), Kubla Khan (1798)

In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And here were gardens bright with sinuous rills
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced;
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail:
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves:
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight't would win me
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.

Nautical

Nautical (pronounced naw-ti-kuhl)

(1) Of or relating to ships, navigation, sailors & other admiralty matters.

(2) As nautical mile, a measure of distance.

1545-1555: From the Middle French nautique (pertaining to ships, sailors, or navigation) from the Latin nautic(us) (of or relating to ships or sailors), from the Ancient Greek ναυτικός (nautikós) (seafaring, naval), from nautes (sailor), from naus (ship), from the primitive Indo-European nau (boat).  Nautical is the adjective, nauticality the noun and nautically the adverb; associated words include navigational, seafaring, maritime, marine, aquatic, naval, oceanic, pelagic, salty, ship, abyssal, thalassic, boating, deep-sea, navigating, oceangoing, oceanographic, rowing, sailing & seagoing.

The nautical mile

A unit of distance measurement used in maritime, air and space navigation, one nautical mile was defined originally as one minute (one sixtieth of a degree) of latitude along any line of longitude.  It’s since been re-defined several times and although the international nautical mile is set at 1852 metres (about 1.15 miles), other definitions co-exist: a US Navy nautical mile being 1853.2480 metres (6080.2 feet) whereas UK Admiralty charts use an even 6080 feet.  No standardized nautical mile symbol has ever been agreed with M, NM, nmi and nm variously used.

The derived unit of speed is the knot, a vessel at one knot along a meridian travels approximately one minute of geographic latitude in one hour.  The word knot was originally an admiralty term to measure speed, derived from counting the number of knots unspooled from a real of rope in a certain time.  Curiously, although kn is the ISO standard symbol for the knot, kt is also widely used, particularly in civil aviation.

The reason the generally accepted definition of national territorial waters was set at three nautical miles (5.6 km) was wholly military; it was maximum range of the big ordnance of the age, the cannon-ball.  Developments in ballistics and politics soon rendered the three mile limit irrelevant and states began to claim larger areas but, although the League of Nations Codification Conference began discussions in 1930, nothing was resolved either then or at the subsequent United Nations Conferences on the Law of the Sea (UNCLOS I 1956-1958 & UNCLOS II 1960).  It took a ten-year process (UNCLOS 1973-1982) to secure international agreement that the national territorial limit was set at twelve nautical miles, the provision coming into force in 1994.

Lindsay Lohan's nautically themed Vanity Fair photo shoot, Marina del Rey, California, October 2010.  The location was the Sovereign, a motor yacht built in 1961 for the film star Judy Garland (1922-1969).