Alloy

Alloy (pronounced al-oi (noun) or uh-loi (verb))

(1) A substance composed of two or more metals, or of a metal or metals with a nonmetal, intimately mixed, as by fusion or electrodeposition.

(2) A less costly metal mixed with a more valuable one.

(3) A standard; quality; fineness.

(4) Admixture, as of good with evil.

(5) To mix (metals or metal with non-metal) so as to form an alloy.

(6) To reduce in value by an admixture of a less costly metal.

(7) To debase, impair, or reduce by admixture; adulterate.

(8) A slang term for aluminum, applied often to wheels made of the metal.

1590–1600: From the Middle French aloi (a mixture), from aloier (to combine) from the Old French alei, noun derivative of aleier (to combine) from the Latin alligāre (to bind up), the construct being al- (from the Latin adjective suffix -ālis) + ligāre (to bind) (from which English ultimately gained ligament).  It replaced the earlier Middle English allay from the Anglo-French allai.  An alloy is metallic substance made by mixing and fusing two or more metals, or a metal and a nonmetal, to obtain desirable qualities such as hardness, lightness, and strength. Brass, bronze, and steel are all alloys.  Alloys often have physical properties markedly different from those of the pure metals.

Tube Alloys

Tube Alloys was the code name of the UK’s World War II atomic weapon programme.  Work at Cambridge University during the 1930s had witnessed nuclear fission which underpinned the theory a nuclear chain reaction could be started, thereby making possible an atomic bomb.  While the science remained mysterious to most, the term “atomic bomb” had been known since 1913 when HG Wells used it to describe a continuously-exploding bomb in his novel The World Set Free.  The code name was chosen because it was vague enough to be associated with just about any engineering project.

Trinity A-Bomb test, 1945, the world's first detonation of a nuclear weapon.  Trinity was a plutonium device, the uranium bomb used against Hiroshima not tested because the scientists and engineers were certain of its success.    

Because the development of an atomic bomb demanded vast resources, Tube Alloys was later absorbed into the parallel US research; the trans-Atlantic effort picking up its code name from the project’s first headquarters in Manhattan, NYC.  It was originally to be called Development of Substitute Materials but it was thought that might attract unwanted interest so Manhattan Engineer District was instead adopted.  A bit of a mouthful, before long, it was known to all involved as the Manhattan Project.

Of alloys and aluminium

One of the consequences of the ultimate success of the Tube Alloys project was the form the British Land Rover (1948-2016) took.  The Manhattan project was top secret and until well into 1945 it wasn’t certain either if the A-bomb was going to work or if it could be produced in volume as a deliverable weapon.  Accordingly, military procurement plans continued on the assumption the war in the Far East would continue perhaps until the end of 1946 meaning there were big orders in the pipeline for war-planes, notably medium and heavy bombers, both requiring much aluminium.  The sudden end of the war in August 1945 thus resulted in the cancellation of most of these orders but because of the lead-times in industrial production, huge stocks of sheet aluminium were in warehouses and elsewhere in the supply chain.  After the war, the UK was not exactly bankrupt but the economy was poor shape and there was much need to encourage exports, the official mantra at the time “export or die” and it was no idle treat; manufacturing concerns companies not orienting their production towards exports would quickly find they were unable to secure raw materials and had to either build for export or go out of business.

Series 1 Land Rover.  Note the panels fashioned with sheets of aluminium which needed only to be cut or folded.

So steel was in chronically short supply because of the need to re-build so much of the infrastructure which had been damaged or destroyed, mostly by the Luftwaffe’s gravity bombs and the later use of the V1 flying bombs and the big V2 rockets but aluminium was plentiful.  Sheet aluminium was also light, not susceptible to rust and importantly, could be folded into simple shapes, obviating the need for complex and tooling to be built, an expensive and time consuming process.  These qualities appealed to Rover’s engineers who, while working on their modernist range of post-war passenger vehicles and turbine engines, conjured up of the country’s most enduring exports, the Land-Rover which in its original form would remain in production until outlawed in 2016 by humorous European Union (EU) bureaucrats; it also in 1970 begat the Range Rover which didn’t exactly create the niche of the civilized four wheel drive (4WD) but certainly defined it.  Using a simple to build chassis and existing engines, the original Land Rover was developed at remarkably low cost, something helped by most of the external panels being fashioned from flat sheet aluminium, most requiring nothing more than cutting and folding.

In recent years, although more expensive than steel, aluminium remains an attractive metal for manufacturers, attracted by its light weight and ease of construction.  Before the advent of fibreglass and later more exotic composites, it was the material of choice for many high-performance cars, some special low-volume runs of “alloy bodies” even featuring in the production schedules of models constructed usually from steel.  Sometimes too there was a mix, components like doors, hoods (bonnets) & trunk (boot) lids used to lighten vehicles made substantially from steel, offering a significant weight-reduction without the large cost of re-tooling for the entire platform.  It was done not only to guarantee high-performance but also to do something about low-performance.  After the second oil shock (1979), Mercedes-Benz rushed into production the 300 SD (1978-1980), a diesel version of the S Class (W116 1972-1980) sedan in response to demand for diesel vehicles in North America.  However, even after bolting a turbo-charger to the (OM617) five cylinder 3.0 litre (183 cubic inch) engine, such was the lack of power compared to the familiar petrol V8s that performance was hardly stellar.  Aerodynamic improvements would have to wait for the replacement platform (W126 1979-1991) and the only practical solution was weight reduction so the hood and truck lid were replace with pressings using aluminium.  That helped but not by much and the acceleration offered by the 300 SD was never described as anything but leisurely although the offset was the famously durable OM617 would run for decades.  Priorities had however changed and the 300 SD became a best-seller in the US and was a major factor in helping the company meet the Corporate Average Fuel Economy (CAFE) standards, mandated in 1975, a reasonable achievement given the infamous thirst of the V8s.  In later years, lightweight parts also proved attractive to owners of the 450 SEL 6.9 which used the 6.9 litre (417 cubic inch) (M100), the diet regime making the Teutonic hot rod presumably just a little quicker and less thirsty.

Mercedes-Benz R230 construction (left) and Lindsay Lohan’s unfortunate SL 65.

Even in the age of carbon fibre and more modern alloys, aluminium remains widely used because it’s light, strong and it’s properties are well understood in manufacturing.  The Mercedes-Benz R230 (SL, 2001-2011) used aluminium for components such as doors (the inner skins the even lighter magnesium), trunk lid and front fenders (wings) and alloys such as high-strength steel for the platform.  Lindsay Lohan’s unfortunate low-speed event in a 2006 SL 65 afforded users an unusual view of the R230's construction via a gash torn in the aluminium door.  The SL 65 Black Series (2008-2012) Black Series was some 250 kilograms (551 lb) lighter than the 604 horsepower AMG SL 65 AMG and rated at about 10% more powerful (although some suggest that number is conservative).  The weight-loss programme included substituting some metal components with carbon-fibre units but of greater significance was the deletion of the folding aluminium roof, replaced by a fixed structure in carbon-fibre, something which produced the additional benefits of a lower centre of gravity and greater rigidity.  Only 400 were built, 175 for the US market and 225 for the RoW (rest of the world).  A production number of 350 is sometimes quoted but those maintaining registers insist it was 400.

Copper

Copper (pronounced kop-er)

(1) A malleable, ductile, metallic element having a characteristic reddish-brown color, occurring as the free metal, copper glance, and copper pyrites: used as an electrical and thermal conductor and in such alloys as brass and bronze.

(2) As a color, a metallic, reddish brown.

(3) A slang term for a coin (usually of a smaller denomination) composed of copper, bronze etc.

(4) A slang term for a hedge (archaic).

(5) A slang term for a police or other law-enforcement officer, now usually as the shortened “cop”.

(6) In lepidopterology, any of several butterflies of the family Lycaenidae, as Lycaena hypophleas (American copper), having copper-colored wings spotted and edged with black.

(7) In slang and informal use, a tool or any of the various specialized items made from copper, where the use of copper is either traditional or vital to the function of the item.

(8) In historic UK & Commonwealth use, a large kettle (now usually made of cast iron), used for cooking or to boil the laundry (archaic and functionally extinct); a once popular term for any container made of copper.

(9) To cover, coat, or sheathe with copper.

Pre 1000: From the Middle English coper & copper, from the Old English coper & copor, from the Late Latin cuprum (copper), from the Latin aes Cyprium (literally “Cyprian brass” (ie metal from the island of Cyprus)), from the Ancient Greek Κύπρος (Kúpros) (Cyprus).  It was cognate with the Dutch koper (copper), the Old Norse koparr (copper), the German Kupfer (copper) and the Icelandic kopar (copper).  The alternative spelling coper (a hangover from the Middle English) is obsolete.  Copper & are nouns, verbs & adjectives, copperas is a noun, coppered & coppering are verbs & adjectives and coppery, cupric, cupreous & cuprous are adjectives; the noun plural is coppers.

In the Ancient Greek there was khalkos (ore, copper, bronze), a direct borrowing of the primitive Indo-European word meaning "ore, copper, bronze" and familiar in the Sanskrit ayah and the Latin aes.  In Classical Latin aes originally was used of copper but as technology evolved, this was extended to bronze (its alloy with tin) and because bronze was used much more than pure copper, the word's primary sense shifted to the alloy and a new word evolved for "copper," from the Latin form of the name of the island of Cyprus, where the copper mines were located.  Cyprus being the birthplace of Aphrodite (Venus), this led (in the way mythology adapted to the times) to the association of by alchemists of Aphrodite with copper.  Aes passed into the proto-Germanic where originally no linguistic distinction existed between copper from its alloys while in English it became “ore”.  In Latin vernacular, aes was used also to mean “cash, coin, debt, wages” in many figurative expressions. The chemical symbol Cu is from cuprum, from the Ancient Greek Κύπρος (Kúpros) (Cyprus).

The use to describe coins made of (or appearing to be made of) copper dates from the 1580s while to refer to vessels (jars, tubs, pots etc) made from the metal it came into use in the 1660s, the adjective cupreous (consisting of or containing copper (from the Late Latin cupreus (of copper), from cuprum (an, alternative form of cyprum (copper)) emerging in parallel.   The adjectival use in the sense of “made from or resembling copper” emerged in the 1570, a development from the verb, in use since the 1520s.  The alloy copper-nickel was first used to mint coins in 1728.  The trade of coppersmithing, practiced by the coppersmith (artisan who works in copper), was a creation of the early fourteenth century and was, as was practice at the time, soon used as a surname.  The noun copperplate (also copper-plate) described a "plate of polished copper, engraved and etched" dates from the 1660s and was later used figuratively to describe designs (wallpaper, woodcuts, carvings, carpet etc) with some resemblance to the styled metal.  Perhaps surprisingly, the adjectival sense in the sense of an allusion to the reddish-brown color isn’t documented until the turn of the nineteenth century (“cupric” used thus in 1799 and "copper-colored" after 1804) although it may earlier have been part of one or more oral traditions.

Symbol: Cu.
Atomic number: 29.
Atomic weight: 63.546.
Valency: 1 or 2.
Relative density: 8.96.
Specific gravity: 8.92 at 20°C.
Melting point: 1084.87±+0.2°C.
Boiling point: 2563°C

In an example of the way English must seem strange to speakers of more apparently logically languages, the use of “cop” as a slang term for “police or other law-enforcement officer” is a shortening of “copper” but that is etymologically unrelated to the metal, the use of “copper” to describe policemen (at a time all were men” derived from the English “cop”.  The construct was cop (to take, capture, seize) +‎ -er (the agent suffix).  Cop is of uncertain origin but the most likely link is with the Middle English coppen & copen, from the Old English copian (to plunder; pillage; steal) although some etymologists have also suggested the Middle French caper (to capture), from the Latin capiō (to seize, grasp) or the Dutch kapen (to seize, hijack), from the Old Frisian kāpia (to buy), source of the Saterland Frisian koopje and the North Frisian koope.  A perhaps related form was the Middle English copen (to buy), from the Middle Dutch copen.

New York's Statute of Liberty with the copper skin colored as it would have appeared in France, prior to being shipped to the US for erection in  in 1886 (left) and as it appeared decades later, the metal showing the effects of oxidization (right).  

The expression “to cop” was thus used in the sense of “to steal” but also (as a transitive verb) “to (be forced to) take; to receive; to shoulder; to bear, especially blame or punishment for a particular instance of wrongdoing”, hence the expressed notions of “cop the blame”, “cop an injury” etc.  It was the association with crime and violence which in the nineteenth century saw "copper" (one who cops (apprehends) the criminal) adopted in the UK (first documented in 1846) to describe what were then the still relatively novel (in the sense of a structured, publicly-funded force) policemen and as “cop”, the world spread world-wide.  Cop also had a mono-syllabic appeal to many sub-cultures who took up the sense of “to obtain; acquire; purchase”; it was used (1) by drug users to express acquisition of narcotics, (2) among anoraks (train-spotters, plane-spotters, bird-watchers etc) to mark the observation and recording of something unique or at least rare and (3) by those living off immoral earnings (pimps), to speak of the recruitment of a prostitute to the lineup.  There was also the alleged slang form “fair cop”, said to be used by criminals (to cops) when admitting guilt although whether this was as common in real life as it was in the imaginations of crime writers isn’t known although “bent copper” (a corrupt police officer) still enjoys some currency.

JTC Roofing in the UK provided a chart using the Statute of Liberty to illustrate the natural process by which copper gradually changes in color from the original reddish-brown to green, a chemical reaction between the metal and the oxygen in the atmosphere, something known as oxidation.  In an aesthetic sense, the transition to green is part of copper’s charming patina but it’s also functional, providing a protective coating which protects surface deterioration and in this it differs from a ferrous metal like iron which, under oxidation, becomes rusted, the rust eating into the material.  The result can be seen in the light bluish-green copper facades which adorn many copper rooftops and structures and the pallette evolves over years before the familiar green tint achieves a final hue, something influenced also by atmospheric and climatic conditions.

The patination of copper induced by oxidation can be emulated in hair colors: Lindsay Lohan demonstrates. 

Helpfully, World of Chemicals has explained the chemistry.  When in 1886 the Statute of Liberty was assembled and erected after being shipped from France, it was a quite dull brown, reflecting the process of oxidation which had already taken from the metal the shininess which the coppersmiths and engineers would have seen when first working on the pates in Paris and it would take another 30-odd years of weathering before the now familiar color settled.  This patination is fine if a structure for decades remains untouched but in some uses in architecture (especially roofs which are vulnerable to damage), it’s sometimes necessary to replace copper panels which can result in an unsightly patchwork of colors.  For this reason, the industry has developed processes of pre-patination which can render copper panels with specific degrees of patination to match a sample of the damaged item, thus providing a close color-match.

PSA.

As a courtesy to Lindsay Lohan and other redheads, Harper's Bazaar published Exactly How to Choose the Perfect Lipstick Shade for Redheads which included a list of “dos & don’ts” by celebrity make-up artist Emma Day (b 1974).  Lipstick for redheads is a “special case” because with the overwhelming majority of lipsticks being red, the chance of a jarring clash is greater for redheads and the interplay between skin-tone, hair color and lipstick demands greater attention.  It would of course be simpler were the term “red head” actually to mean “person with red hair” but the hues grown are typically coppers, ambers, gingers, oranges, auburns etc, not color ranges which typically mesh well with most reds, thus the need for expert advice.

Because of its location and the era in which it has stood, the particular path to verdigris (from the French vert-de-gris (literally “green of Greece”)) assumed by the Statute of Liberty was influenced by the unique environmental conditions.  Although the process is linguistically encapsulated as “oxidation”, it's not a simple single reaction between copper and oxygen because the generated green oxide continues to react to make copper carbonates, copper sulphide, and copper sulphate.  Initially, the copper reacts with oxygen from the air in a redox reaction, the metal donating electrons to oxygen, which oxidises the copper and reduces the oxygen, the copper oxide continuing to react with oxygen to form copper oxide.  However, for many of the decades in which the statute stood, the atmosphere contained much sulphur from the burning of coal and this induced another reaction which produced copper sulphide (black) which reacts with atmospheric carbon dioxide and hydroxide ions from water vapour, forming three compounds all of which exist in shades of blue or green.  The speed at which the patina develops and evolution of the colour depends on factors like temperature, humidity and air pollution, not just the presence of oxygen and carbon dioxide and, in another time, in another place, things would have unfolded differently.

Statue of Liberty (1962), silkscreen print by Andy Warhol. 

Andy Warhol (1928-1987) produced a few depictions of the Statute of Liberty, mostly variations of the familiar theme made famous by his prints of Marilyn Monroe (1926–1962) but one with a touch of something original was a silkscreen rendering in 1962 of multiple tiled images in 3D.  At auction by Christies (New York) in 2012, it sold for US$43.8 million, part of a collection of contemporary art that realized an encouraging US$412.3 million, regarded at the time as a sign the market was recovering from the shock of the global financial crisis (GFC); the US Federal Reserve (The Fed) must have been pleased to see all that quantitative easing being spent wisely.  Even so, it didn’t set a record for a Warhol, Eight Elvises sold in a private sale 2008 for a reputed US$100 million although the auction house did throw in a pair of 3D glasses with the catalogue so there was that.  In 2013, another Warhol from 1963 set a pop-art record which stands today, Silver Car Crash (Double Disaster) selling at auction for US$105.4 million.

Metal

Metal (pronounced met-l)

(1) Any of a class of elementary substances, as gold, silver, or copper, all of which are crystalline when solid and many of which are characterized by opacity, ductility, conductivity, and a unique luster when freshly fractured.

(2) Such as substance in its pure state, as distinguished from alloys.

(3) An element yielding positively charged ions in aqueous solutions of its salts.

(4) An alloy or mixture composed wholly or partly of such substances such as steel or brass.

(5) An object made of metal.

(6) Formative material; stuff.

(7) In printing, as type metal, the stencils used to apply ink; the state of being set in type.

(8) The substance of glass in a molten state or as the finished product; molten glass in the pot or melting tank (mostly in technical use).

(9) As road metal, the crushed rock used in road construction; small stones or gravel, mixed with tar to form tarmac for the surfacing of roads.

(10) To furnish or cover with metal.

(11) In popular music, verbal shorthand for the genre heavy metal (but apparently usually not other variations (thrash; power; gothic; doom; twisted; black; molten; death)).

(12) In admiralty jargon, the total weight of projectiles that can be shot by a ship's guns at any one time; the total weight or number of a ship's guns.

(13) In heavy element astronomy, any atom except hydrogen and helium.

(14) In heraldry, a light tincture used in a coat of arms, specifically argent (white or silver) and or (gold).

(15) In rail construction, the rails of a railway (almost always plural).

(16) In mining, the ore from which a metal is derived (the use to describe the mine from which the ore is extracted is obsolete).

(17) Figuratively, the substance that constitutes something or someone; matter; hence, character or temper (now archaic and replaced by mettle).

(18) In the jargon of civil aviation, the actual airline operating a flight, rather than any of the code-share operators.

(19) In the jargon of drag-racing, a descriptor applied to the largest capacity (usually big-block) engines.

1250–1300: From the Middle English, from the Old French metal (metal; material, substance, stuff), from the Classical Latin metallum (quarry, mine, product of a mine, metal), from the Ancient Greek μέταλλον (métallon) (mine, quarry, ore).  The Greek work picked up the sense of “metal” only in post-classical texts, via the notion of "what is got by mining”; the original meaning was "mine, quarry-pit," probably a back-formation from metalleuein "to mine, to quarry," a word of unknown origin which may be related to metallan "to seek after" but there’s no evidence in support and it’s thought derived from a pre-Greek source because of the presence of -αλλο- (-allo-).  In the West, what defined a metal was based on the metals known from antiquity: gold, silver, copper, iron, lead, and tin.  The adjectival form (or or covered with metal) emerged in the late fourteenth century reflecting the advances in metallurgy.  The term metalwork is attested from 1724 and has been used to describe both functional and decorative endeavours and is a common title in technical education (al la woodwork).  Metal is a noun, verb & adjective and metallic is a noun & adjective; the noun plural is metals.

Human beings are of course made from soft, vulnerable flesh so metals have long been invoked in phrases demonstrating their (figurative) hardness such as “steely resolve” and “iron will”.  Sometimes these are personalized, Margaret Thatcher (1925–2013; UK prime-minister 1979-1990) dubbed the “Iron Lady” and Otto von Bismarck (1815-1898; chancellor of the German Empire (the “Second Reich”) 1871-1890) the “Iron Chancellor”.  Sir Eric Willis (1922–1999, premier of the Australian state of NSW (New South Wales) Jan-May 1976) earned the nickname “stainless steel”; sometimes used admiringly, sometimes not.  In Cockney rhyming slang, “brass” (an alloy of copper and zinc) was one of many forms used to refer to “a prostitute”; it was a clipping of “brass nail” (rhyming with “tail”, another of the historical nicknames for sex workers).

The entertaining, if not always reliable (the Friday Times is better), Pakistani site thenews.com.pk in 2021 reported Prince (King since September 2022) Charles (b 1948) had bestowed upon his daughter-in-law Meghan Markle (now “the difficult” Duchess of Sussex) the nickname "tungsten".  Nicknames have long been popular among the British aristocracy and have included such monikers as “duck”, “mule” and “melons” so for the duchess, it could have been worse.  Quite which of the qualities of tungsten Prince Charles had in mind isn’t known so it’s impossible to say whether he was impressed, intrigued or incandescent.  It’s all a matter of which of tungsten’s characteristics moved his thoughts because it (1) has the highest melting point of all metals, (2) is the heaviest metal known to have a biological role (some bacteria using tungsten in an enzyme to reduce carboxylic acids to aldehydes), (3) is strong and durable, (4) is highly resistant to corrosion and (5) has the highest tensile strength of any element.  However, its strength comes when it’s rendered into compounds whereas (6) pure tungsten is very soft.  So it’s hard to say but when told her father was unable to attend, Prince Charles volunteered to walk the bride down the aisle and give her away so there was that.

The doomed romantic poet: Portrait of Percy Bysshe Shelley at the Baths of Caracalla, depicted writing Prometheus Unbound, oil on canvas, painted posthumously, Joseph Severn (1793–1879), Rome, Italy, 1845.

Use of metals as similes could provoke controversy.  In 1820 the English novelist & poet Thomas Love Peacock (1785–1866) published the essay Four Ages of Poetry, a work that while deliberately provocative was composed in an at least semi-humorous vein.  The essay’s theme wasn’t exactly kind to the work of more recent poets with poetry classified into four periods: iron, gold, silver and brass.  Although himself a published author, Peacock was an official of the East India Company (which “sort of” ran British India in the years before the Raj) and his more illustrious literary colleagues weren’t about to let the slights of “a colonial clerk” go unanswered, Percy Bysshe Shelley (1792–1822) answering quickly with Defence of Poetry (1821).  Predictably, the squabbles for some time raged in literary journals and there were even “letters to the editor” in the broadsheets.  Although it’s clear Peacock had a point to make in his essay, scholars believe he was no more serious in his critique than would be Nancy Mitford (1904–1973) in writing Noblesse Oblige: An Enquiry into the Identifiable Characteristics of the English Aristocracy (1956) but she triggered readers in much the same way and the barbs must have stuck because, a century on, the English poet & literary critic Ivor Armstrong “I.A.” Richards (1893–1979) included in Science and Poetry (1926) a refutation more strident even than that of Shelly.  Hell clearly hath no fury than a poet criticized.

Iron Butterfly, In-A-Gadda-Da-Vida (1968).  An early heavy metal recording, their previous album was Heavy (1968).

The use to describe a variety of loud forms of popular music (heavy; thrash; power; gothic; doom; twisted; black; molten & death-metal (there may be others, it’s a vibrant scene)) began with heavy metal, the term coming into general use circa 1970 to describe a genre which had evolved since what came retrospectively to be called the proto-metal pieces of the 1950s such as Link Wray's Rumble.  As a shortened form, “metal” appears to be used properly to reference only heavy metal, presumably because it came first, the other forms almost always identified with the modifier.  The use in popular music seems to have been picked up from counterculture literature, William S Burroughs (1914-1997) using the phrase "heavy metal kid" in the 1962 novel The Soft Machine.  That was not a musical reference but in the subsequent Nova Express (1964), extended the use to a metaphor for drug use and from there, adoption in somewhere in popular culture was probably inevitable; it was the 1960s.  The band Steppenwolf included the phrase “heavy metal thunder” in its single Born to be Wild (1968).

The lightness and heaviness of naturally occurring metals has been noted since pre-historic times, probably because of the interest in the malleability of materials which might be used to craft metal ornaments, tools and weapons and until the early nineteenth century, all known metals had relatively high densities, indeed that very quality of heaviness was thought a distinguishing characteristic which defined metals.  However, beginning in 1809, lighter metals such as sodium and potassium were isolated, their low densities demanding a definitional re-think and it was proposed they be categorised as “metalloids” but instead, that was reserved to later refer to a variety of non-metallic elements.  The term "heavy metal" seems first to have been used by German chemist Professor Leopold Gmelin (1788-1853) in an 1817 paper in which he divided the elements into non-metals, light metals, and heavy metals, based on relative density.  Later, “heavy metal” would be associated with elements with a high atomic weight or high atomic number and it is sometimes used interchangeably with the term “heavy element” although, two centuries on, there is criticism of the very usefulness of the now classical categories, the suggestion being they’ve become so diverse as to be meaningless.  Despite that, “heavy metal” in particular remains frequently used in both scientific and popular literature, the latter most often without any definitional rigor.  By comparison, presumably because their less associated with environmental pollution, “light metal” appears most often in association with metal trading, referring usually to aluminium, magnesium, beryllium, titanium and lithium.

The cosmological periodic table.  Chemists do at least agree on what metals are, heavy or otherwise.  Astronomers consider any element heavier than helium to be a metal, the distinction based on whether an element was created directly after the Big Bang (hydrogen and helium) or instead formed through subsequent nuclear reactions.  In the world of cosmology this is well understood but it can cause confusion among a general audience because it means elements such as carbon and oxygen are treated as metals, a most unfamiliar concept.

To astronomers, the production of metals is a consequence of stellar evolution.  Although metals lighter than iron are produced in the interiors of stars through nuclear fusion reactions, only a very small fraction escape (through stellar winds or thermal pulsations) to be incorporated into new stars.  For this reason, the majority of the metals found in the Universe are produced and expelled in the supernova explosions that mark the end for many stars.  This gradual processing of hydrogen and helium into heavier elements through successive generations of stars means that the metallicity of stars (the fraction of the mass of the star in the form of metals) varies.  Very old stars which formed from the almost pristine material of the Big Bang contain almost no metals, while later generations of stars can have up to 5% of their mass in the form of metals.  The percentage of metals in our star (the Sun) is around 2%, indicating it’s a later generation star.

1950 Jaguar XK120 (chassis: 670165 (aluminum body))

When it comes to money, and not just with precious metals like gold, the choice of metal matters much; aluminum can become quite precious.  Jaguar went to the 1948 London Motor Show thinking their big announcement would be the new XK engine, the twin-cam straight-six which faithfully would serve the line for the next forty-four years.  What instead stole the show was the test-bed, the roadster in which it was installed.  It was a sensation, the reaction convincing Jaguar's management to put it into production as the XK120.  However, tooling-up a production-line, even for a relatively low-volume sports car, takes time so the first 242 XK120s were hand-built with aluminum bodies affixed to an ash frame atop a steel chassis substantially shared with an existing model.  By 1950, the factory was ready for mass production and all subsequent XK120s were made with pressed-steel bodies although the doors, bonnet (hood), and boot (trunk) lid continued to be fashioned from aluminum; the later cars weigh an additional 112 lb (51 kg).  All the aluminum-bodied cars used OTS (open two seater (roadster)) coachwork and most were destined for the North American market, only 58 built with right-hand drive.  The most desirable of the XK120s, the record price for a road car at auction is US$396,000, realised in 2016 but those with a competition history have attracted more, a 1951 Roadster campaigned by the Scottish race team Ecurie Ecosse (Scottish Stable), sold in 2015 for £707,100 while the 1954 (steel) Competition Roadster that won its class at the Alpine Rally brought £365,500 in the same year.

1955 Mercedes-Benz 300SL (chassis: 550028 (aluminum body)).

Intended for those planning to use the things in competition, the aluminum body for the 300SL Gullwing (W198, 1954-1957) was a regular production option, albeit a not inexpensive one although, given the processes involved, it may have been a bargain.  Reducing weight by 215 lb (80 kg), the aluminum bodies were hand-crafted in the motorsports department in Untertürkheim and then mounted on the spaceframes sent from the Sindelfingen factory.  Of the 1400 Gullwings, only 29 were built in aluminum, 26 of 855 in 1955 and 3 of 308 in 1956 so the option was taken-up only by two percent of customers.

Lindsay Lohan with metallic bags, London, 2014.

Adding to the desirability of the lightweights are the other modifications the factory made to improve competitiveness against the mostly British and Italian opposition.  Plexiglass windows, vented brake drums and stiffer springs were in the package, along with the Sonderteile (special parts (NSL)) engine with tweaked fuel-injection and a more aggressive camshaft, gaining 15 HP (horsepower).  Curiously, one option intended for use in motorsport actually added a little weight: the Rudge wheels, the seconds the knock-off hubs saved in the pits said to be worth the slight increase.  Available for any Gullwing, the Rudge wheels are one of the desirable features, like the fitted luggage, tool kit and factory documents, the presence and condition of which attract a premium at sale.  For some years, the record price at auction for one of these was the US$4.62 million for a 1955 model, paid in 2012 for a car which in 1980 had been bought by a German collector for US$57,000.  A new mark was set in 2022 at RM Sotheby's January auction at Scottsdale's Arizona Biltmore Resort when one crossed the block for US$6,825,000.

Ran when parked: 1956 300 SL “Alloy” Gullwing (US$9.4 million).

The price paid in 2022 was impressive but that was for a car in very good condition; what astonished some market analysts was the sale in 2024 of a “mostly complete” but dilapidated alloy-bodied Gullwing.  One of several “star items” in the auction of the contents of Rudi Klein's (1936-2001) legendary Los Angeles “junkyard”, at auction it realized US$9,355,000 which may appear extraordinary for a vehicle requiring extensive restoration (the estimates all “somewhere in six figures”) but it was about as “matching numbers” as things get (Chassis 198.043.5500872; Engine 198.980.5500868; Gearbox 5500854; Body 198.043.5500026; Steering Box 5500891; Rear Axle 5500418).  The 26th of the 29 examples of the “Alloy” Gullwings, it was the only one originally finished in Black over Red leather and, given the provenance, it’s assumed the restoration will recreate that look.  The price may perhaps be explained by the car being the only unrestored example of its type and that uniqueness has real appeal in the little corner of collector community able to indulge in such projects.  Time will tell whether it was a sound financial investment but even the rich sometimes have emotional attachment to objects so it's not impossible it was purchased for the pleasure of ownership rather than a thing to be “flipped” for profit.  Despite the sale, owners of Alloy Gullwings seem not to have been tempted to test the market, no others since being offered.

Apotheosis

Apotheosis (pronounced uh-poth-ee-oh-sis (U) or ap-uh-thee-uh-sis (non-U))

(1) The elevation or exaltation of a person to the rank of a god.

(2) An example of an ideal; epitome; quintessence.

(3) The highest achievement of a person or institution.

(4) The highest point in the development of something; a culmination or climax.

(5) A glorified ideal; the realization of the apex or pinnacle (of a concept, construction or belief).

(6) In some Christian writings, a (sometimes blessed) release from earthly life, ascension to heaven; death; a technical synonym for the earthy death which precedes the soul rising to Heaven; the abbreviation in the texts was apoth.

(7) In psychology, the latent entity which mediates between a person's psyche and their thoughts (best known in the example of the id, ego and superego in Freudian psychology.

1570-1580: From the Late Latin apotheōsis (deification (especially of an emperor or royal personage)), from the Ancient Greek ἀποθέωσις (apothéōsis), from the verb ἀποθεόω (apotheóō) (to deify”).  The surface analysis apo- +‎ theo- +‎ -sis may be deconstructed as a factitive verb formed by the intensive prefix ἀπο- (apo-) + θεός (theós) (God) + -σις (-sis) (the suffix which formed nouns of action), the popular form in later Medieval texts being apotheoun (deify, make someone a god) and all forms were related to the primitive Indo-European root dhēs -, forming words for religious concepts which may have been an extension of the root dhe- (to set, put).  The verb apotheosize (exalt to godhood, deify) emerged circa 1760 and begat the inevitable apotheosized & apotheosizing, the extinct earlier (1670s) version being apotheose.  From the Late Latin & Church Latin other European languages picked up the word, the variations including the Catalan apoteosi, the French apothéose, the Galician apoteose, the Italian apoteosi, the Occitan apoteòsi, the Portuguese apoteose and the Spanish apotheosis.  Apotheosis is a noun, apotheosize is a verb and apotheotic is an adjective; the noun plural is apotheoses.

In the Roman Empire, apotheosis was a process whereby a dead ruler was declared divine by his successor.  Usually, the Senate passed a decree in accordance although, even at the time, it was often regarded a tawdry political trick by a new Emperor attempting to identify with a popular predecessor.  Time has not lessened the attraction for politicians and names like Reagan and Churchill are often invoked by those who'd like some of the lustre to reflect on them (although Mr Trump seems happy to mention only the more distant Washington and Lincoln).  Worse still was declaring divine a deceased dill: a work of satire attributed to the Stoic philosopher Seneca the Younger (Lucius Annaeus Seneca, circa 4 BC–65 AD) was The Apocolocyntosis (divi) Claudii (literally “The Pumpkinification of the divine Claudius”) which details the death of the Roman emperor Claudius and his judgement before the gods, the list of his crimes and failings so long that he’s cast down to the underworld.  Among scholars of Antiquity, there has been debate about whether Seneca really wrote the piece because among his many essays on politics, morality and philosophy, it’s the solitary satire and it’s thought he may have lent his name to give the piece some intellectual respectability.

Divas: Maria Callas (1923-1977), Chicago, 1955 (left), Lindsay Lohan (b 1986), Los Angeles, 2009 (centre) & Meghan, Duchess of Sussex (b 1981), London, 2018 (right).

An expired emperor's deceased loved ones could also be deified and posthumously, they were awarded the title Divus (or Diva if a women).  Classic Roman religion distinguished between a real god (of which the Romans had many) called deus and mortals defied through apotheosis who were called divus.  The label diva has long been used to describe highly-strung sopranos but in the modern age it’s applied also to pop-singers, reality-TV stars and the odd “difficult duchess”.  In Greek mythology there were mortals who became gods and many cultures embraced the idea, Hinduism by the million and most famously, until 1945 the Emperor was a “living God and the most honorable son of heaven”.  The three great monotheist faiths differ somewhat.  Islam is the clearest in that there is but one God in heaven and his greatest and final prophet was Muhammad (circa 570–632) who spoke through divine guidance but was flesh & blood.  In Judaism there is only one God and he has a special relationship with the Jews because of the covenant with them, the Jews believing (there are a few heretics however) that their Messiah has yet to appear on Earth but that day will come.  Christianity, predictably perhaps, is the most open to interpretation because of the notion of Jesus Christ as both earthy flesh & the second divine being of the Trinity (the Father, the Son and the Holy Ghost (Holy Spirit).  Thus, among Christian sects and cults which have come and gone, there's always been a bit of theological wriggle-room.

The Gullwing’s apotheosis

In the churning world of the collector car market, the ecosystem of the Mercedes-Benz 300 SL (W198) is noted for the benchmarks set in the prices for which they sell.  They were produced as both a coupé (1954-1957) with the memorable gullwing doors and a roadster (1957-1963) and in the context of the multi-million dollar used car business, were actually made in quite substantial numbers, some 1400 Gullwings and 1858 roadsters made.  One quirk of the 300 SL has always been that unusually, it’s the roadster which has always sold for less, such is the allure of those exotic doors.

1963 Mercedes-Benz 300 SL Roadster: US$3.7 million.

Unexpectedly, the orthodoxy was almost overturned.  In 2018, a 1963 300 SL Roadster with just 1372 km (852 miles) on the odometer attracted US$3.7 million at auction in France, making it the most expensive roadster ever sold, nudging the record (US$4.2) set in 2012 by a 1955 aluminum Gullwing.  It was well above expectations but even apart from it being barely used, it was an exceptional example because it came with both the factory hardtop and soft-top (still untouched in its original shipping crate) and, as one of the few dozen made in the last year of production, it included the all-aluminum engine and the notable (and overdue) addition of four-wheel disc brakes.  Another thing which would have attracted collectors is that based on the VIN (Vehicle Identification Number), just ten more were built before the line ended.

1955 Mercedes-Benz 300 SL (Weckerlé Alloy) : US$6.825 million.

However, the record didn’t last long because early in 2022, one of the twenty-nine aluminum-bodied Gullwings sold at auction in the US for US$6.825 million which does sound impressive but in what may be a sign of these troubled times, the bids actually failed to reach the estimates of US$7-8 million.  Long known as the Weckerlé Alloy because it was originally ordered by Joseph Weckerlé, the factory’s agent in Casablanca, the provenance of chassis 5500332 was close to impeccable, the 1955 car retaining its Sonderteile (special parts (NSL)) engine with tweaked fuel-injection and a more aggressive camshaft, gaining fifteen horsepower.  Additionally, it was fitted with the much admired Rudge knock-off wheels, the only deviations of note from the original Leichtmetallausführung (light-alloy design) specification being a replacement (1957) gearbox and glass windows which at sometime had replaced the thinner plexiglass units.  A newly trimmed, fitted-luggage set (something of a fetish in the Gullwing world) was also included.

1955 Mercedes-Benz 300 SLR (Uhlenhaut coupé): US$143 million.

Trumping all these results however was a world-record which not only set the mark for Gullwings but became the most expensive car ever sold.  In June, 2022, at a private auction conducted in the Mercedes-Benz factory museum in Stuttgart, one of the two 1955 300 SLR (W196S “Uhlenhaut”) coupés went under the hammer for US$143 million.  The 300 SLR (W196S) was a sports car, nine of which were built to contest the 1955 World Sportscar Championship.  Essentially the W196 Formula One car with a body and the straight-eight engine enlarged from 2.5 to 3.0 litres (152 to 183 cubic inches), the roadster is most famous for the run in the 1955 Mille Miglia in Italy which was won over a distance of 992 miles (1597 km) with an average speed of almost 100 mph (160 km/h); nothing like that has since been achieved.  There's infamy too attached to the 300 SLR; one being involved in the catastrophic crash and fire at Le Mans in 1955.  The two 300 SLR Gullwings were intended to be run in the 1955 Carrera Panamericana Mexico but were rendered instantly redundant when both the event and the Mercedes-Benz racing programme was cancelled after the Le Mans disaster.  The head of the competition department, Rudolf Uhlenhaut (1906-1989), added an external muffler to one of the coupés, registered it for road use (such things were once possible when the planet was a happier place) and used it for a while as his company car.  It was then the fastest road-car in the world, an English journalist recording a top speed of 183 mph (295 km/h) on a quiet stretch of autobahn but Uhlenhaut paid a price for the only partially effective muffler, needing hearing aids later in life.  So the relationship to the W198 road cars is distant but such is the resemblance the Uhlenhaut coupés have always been thought the Gullwing’s apotheosis.