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  The alternative spelling coper (a hangover from the Middle English) is obsolete.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.

Malachite

Malachite (pronounced mal-uh-kahyt)

(1) In mineralogy, a bright-green monoclinic mineral, occurring as a mass of crystals (an aggregate).  It manifests typically with a smooth or botryoidal (grape-shaped) surface and, after cutting & polishing, is used in ornamental articles and jewelry.  It’s often concentrically banded in different shades of green, the contrast meaning that sometimes lends the substance the appearance of being a variegated green & black.  Malachite is found usually in veins in proximity to the mineral azurite in copper deposits.  The composition is hydrated copper carbonate; the chemical formula is Cu₂CO₃(OH)₂ and the crystal structure is monoclinic.

(2) A ceramic ware made in imitation of this (in jewelry use, “malachite” is used often as a modifier).

(3) In mineralogy, as pseudomalachite, a mineral containing copper, hydrogen, oxygen, and phosphorus.

(4) In mineralogy, as azurite-malachite, a naturally-occurring mixture of azurite and malachite

(5) In organic chemistry, as malachite green, a toxic chemical used as a dye, as a treatment for infections in fish (when diluted) and as a bacteriological stain.

(6) Of a colour spectrum, ranging from olive-taupe to a mild to deeply-rich (at times tending to the translucent) green, resembling instances in the range in which the mineral is found.  In commercial use, the interpretation is sometimes loose and some hues are also listed as “malachite green”).

1350-1400: From the Middle French malachite, from the Old French, from the Latin molochītēs, from the Ancient Greek malachitis (lithos) (mallow (stone)) & molochîtis (derivative of molóchē, a variant of maláchē), from μολόχη (molókhē) (mallow; leaf of the mallow plant).  It replaced the Middle English melochites, from the Middle French melochite, from the Latin molochītis.  Malachite is a noun & adjective; the noun plural is malachites.

A pair of Malachite & Onyx inlay cufflinks in 925 Sterling Silver (ie 92.5% pure silver & 7.5% other metals), Mexico, circa 1970.

Although in wide use as a gemstone, technically malachite is copper ore and thus a “secondary mineral” of copper, the stone forming when copper minerals interact with different chemicals (carbonated water, limestone etc.  For this reason, geologists engaged in mineral exploration use malachite as a “marker” (a guide to the likelihood of the nearby presence of copper deposits in commercial quantities).  It’s rare for malachite to develop in isolation and it’s often found in aggregate with azurite, a mineral of similar composition & properties.  Visually, malachite & azurite are similar in their patterning and distinguished by color; azurite a deep blue, malachite a deep green.  Because the slight chemical difference between the two makes azurite less stable, malachite does sometimes replace it, resulting in a “pseudomorph”.  Although there is a range, unlike some minerals, malachite is always green and the lustrous, smooth surface with the varied patterning when cut & polished has for millennia made it a popular platform for carving, the products including al work, jewelry and decorative pieces.  For sculptors, the properties of malachite make it an easy and compliant material with which to work and it’s valued by jewelers for its color-retention properties, the stone (like many gemstones) unaffected by even prolonged exposure to harsh sunlight.  Despite the modern association of green with the emerald, the relationship between mankind & malachite is much more ancient. evidence of malachite mining dating from as early as 4000 BC found near the Isthmus of Suez and the Sinai whereas there’s nothing to suggest the emerald would be discovered until Biblical times, some two millennia later.

Lindsay Lohan in malachite green, this piece including both the darker and lighter ends of the spectrum.

The Malachite is relatively soft meant it was easy to grind into a powder even with pre-modern equipment; it was thus used to create what is thought to be the world’s oldest green pigment (described often as chrysocolla or copper green).  In Antiquity, the dye was so adaptable it was used in paint, for clothing and Egyptians (men & women) even found it was the ideal eye makeup.  Use persisted until oil-based preparations became available in quantity and these were much cheaper because of the labor-intensive grinding processes and the increasing price of malachite which was in greater demand for other purposes.  This had the side-effect of creating a secondary market for malachite jewelry and other small trinkets because the fragments and wastage from the carving industry (once absorbed by the grinders for the dye market) became available.  The use in makeup wasn’t without danger because, as a copper derivate, raw malachite is toxic; like many minerals, the human body needs a small amount of copper to survive but in high doses it is a poison’ in sufficient quantities, it can be fatal.  Among miners and process workers working with the ore, long-term exposure did cause severe adverse effects (from copper poisoning) so it shouldn’t be ingested or the dust inhaled.  Once polished, the material is harmless but toxicology specialists do caution it remains dangerous if ingested and any liquid with which it comes in contact should not be drunk.  Despite the dangers, the mineral has long been associated with protective properties, a belief not restricted to Antiquity or the medieval period; because the Enlightenment seems to have passed by New Agers and others, malachite pendants and other body-worn forms are still advertised with a variety of improbable claims of efficacy.

The Malachite Room of the Winter Palace, St Petersburg, Russia was, during the winter of 1838-1839, designed as a formal reception room (a sort of salon) for the Tsar & Tsarina by the artist Alexander Briullov (1798–1877), replacing the unfortunate Jasper Room, destroyed in the fire of 1837.  It’s not the only use of the stone in the palace but it’s in the Malachite Room where a “green theme” is displayed most dramatically, the columns and fireplace now Instagram favorites, as is the large large urn, all sharing space with furniture from the workshops of Peter Gambs (1802-1871), those pieces having been rescued from the 1837 fire.  Between June-October 1971 it was in the Malachite Room that the Provisional Government conducted its business until the representatives were arrested by Bolsheviks while at dinner in the adjoining dining room.  The putsch was denounced by the Mensheviks who the Bolsheviks finally would suppress in 1921.

Polished malachite pieces from the Congo, offered on the Fossilera website.

Where there is demand for something real, a supply of a imitation version will usually emerge and the modern convention is for items erroneously claiming to be the real thing are tagged “fake malachite” while those advertised only as emulation are called “faux malachite”.  Although not infallible, the test is that most fake malachite stones are lighter than the real thing because, despite being graded as “relatively soft” by sculptors, the stone is of high in density and deceptively heavy.  The patterning of natural malachite is infinitely varied while the synthetic product tends to some repetition and is usually somewhat brighter.  The density of malachite also lends the stone particular thermal properties; it’s inherently cold to the touch, something which endures even when a heat source is applied.  Fake malachite usually is manufactured using glass or an acrylic, both of which more rapidly absorb heat from the hand.

Lindsay Lohan with Rolex Datejust in stainless steel with silver face (left) and the Rolex's discontinued "malachite face" (centre & right).  Well known for its blue watch faces, during the more exuberant years of the 1970s & 1980s the company “splashed out” a bit and offered a malachite face.  The Datejust is now available with a choice of nine faces but the Green one is now a more restrained hue the company calls “mint green”.

Trinitite

Trinitite (pronounced trin-a-tight)

(1) The glassy residue left on the desert floor after the Trinity nuclear bomb test of 16 July 1945 at Alamogordo, New Mexico, USA.

(2) By extension, any melt glasses left by nuclear bombs (known also as Alamogordo, atomsite glass or nuclear melt glass).

1945: Compound word trinit(y) +‎ -ite.  Trinity is from the Middle English trinitie & trinite from the Anglo-Norman trinitie or trinite (or ternite, trenite, trinetei, trinitiet & trinitet) from the Latin trīnitātem, accusative singular of trīnitās (the number three; a triad; the Trinity), from trīni (from trīnus (triple) from trēs, from the Proto-Italic trēs, from the primitive Indo-European tréyes (three)) + the suffix -itās from the Proto-Italic -itāts & -otāts from the primitive Indo-European –tehts, the suffix forming nouns indicating a state of being.  The suffix –ite is from the Ancient Greek -ίτης (-ítēs) and was adopted in Latin as part of Greek loanwords, both as –ītēs but also often as -īta.  It was used in Biblical tribal names (Thus either Levītēs or Levīta; plural in –ītae) and in the Medieval Latin of religious groups, such as Marcionītae, Ebiōnītae, Monophysītae.  It’s an adjective-forming suffix, especially of nominalised adjectives identifying groups of people as "those belonging to".  Trinitite is a noun; the noun plural is trinitites.  The verb trinitize is unrelated; it's from Christian theology and means "to divide into a trinity".

It was the physicist Robert Oppenheimer (1904–1967), head of the Manhattan Project which developed the first atomic weapons, who choose the name of the test site for the first atom bomb: Trinity.  He’s remembered for a snatch of verse he said the sight of the first atomic explosion made him recall, words from the Bhagavad Gita: Now I am become Death, the destroyer of worlds.  Oppenheimer also had a fondness for the metaphysical poetry of John Donne (1572–1631), the Church of England cleric, and said he remembered also:

As West and East
In all flat Maps—and I am one—are one
So death doth touch the Resurrection

While those lines do not a Trinity make, others do such as Batter my heart, three person’d God and the Holy Trinity permeates much of his Donne's work.

Variations since Trinity include kharitonchik (melt glasses from the Soviet nuclear bomb Semipalatinsk Test Site in Kazakhstan), impactite (metamorphic minerals caused by meteor heating of non-meteoritic materials), impact glass (melt glasses caused by meteor heating of non-meteoritic materials), fulgurite (melt glasses caused by lightning strikes) and fusion crust (metamorphic minerals on the surface of meteorites caused by atmospheric entry heating).  Trinitite has also been referred to as atomsite or Alamogordo glass (after the nearby city).

Physicist Norris Bradbury (1909–1997; director of the Los Alamos National Laboratory 1945-1970), group leader for bomb assembly, stands next to the partially assembled "Gadget" (code-name for the first plutonium A-bomb) atop the test tower, New Mexico, 16 July 1945).

The Trinity test of the plutonium A-bomb in New Mexico in July 1945 was a genuine test.  The uranium A-bomb which had also been built and which ultimately was dropped on Hiroshima in August was a device in which the scientists had such faith that it was deemed no test was necessary, something that sounds astonishing now but among all the physicists and engineers attached to the Manhattan Project (the A-bomb development team), there were no dissenting voices.  As a uranium bomb, the Hiroshima device was (at least for decades) a genuine one-off, all subsequent nuclear weapons being plutonium-based devices (and that may still be true; the details of the DPRK’s (North Korea) bombs remaining murky).  A uranium bomb turned out to be (relatively) easy to design and build and the trigger mechanism was simple but production of uranium to the specification required was a slow and exacting process given the machinery at the time available.  By contrast, a supply of weapons-grade plutonium was possible with the existing facilities but it was a formidable engineering challenge to create the trigger mechanism while ensuring the device remained within the size and weight parameters of a gravity bomb dropped from an aircraft which would have to fly thousands of miles to reach the target.  The Hiroshima bomb could be made to explode simply by firing a uranium bullet into the uranium core but if that approach was used with plutonium, all that would happen would be the melting of the core.  The solution was to surround the core with sufficient high-explosive to create the pressure required to trigger the chain reaction.  It was this process that the Trinity was staged to test.

Trinitite on the desert floor.

Although the test was over seventy-five years ago and completely fulfilled the purpose of testing the plutonium bomb, it was in another sense an extraordinary experiment in high-energy physics and even in the twenty-first century, analysis of the data and the physical aftermath at the site continues to reveal interesting discoveries.  Geological excavations in 2005 confirmed that the explosion, as predicted, initially pushed-down the ground but that it then rebounded, forcing the material upwards into the fireball in the sky where it was vaporized before cooling and crystallizing, eventually raining down in the form of the trinitite fragments.  Most of the trinitite was green because of the iron content in the sand while a smaller volume was black because their source was the iron from which Trinity’s tower structure was constructed and, being refined and processed, the iron content was much greater than that in the sand.  Finally, among all the trinitite, there was found a tiny number of red crystals which gained their color from all the copper cables which were also vaporized.  The propensity of copper to color its immediate environment was well-known, the mining conglomerate Rio Tinto formed in 1873 with a company name from the Rio Tinto (red river or Tinto River); the highly acidic river in the Sierra Morena mountains of southwestern Spain that runs red & orange because of the high copper content in the surrounding soil.

Red Trinitite.

Beginning in that fraction of a second when the nuclear age was born was the process which produced the red crystals, the extreme pressure and temperature (the Trinity site was briefly hotter than the surface of the Sun) forging a most unusual structure within one grain of the material just 10 micrometers across (barely longer than a red blood cell).  Made from silicon, copper, calcium and iron, the rare form of matter was called a quasicrystal.  Normally, crystals are made from atoms locked in a lattice that repeats in a regular pattern but quasicrystals, while having a structure that is orderly like a normal crystal, don’t have patterns which repeat and this grants quasicrystals properties forbidden to normal crystals.  First discovered in laboratory observations during the 1980s, quasicrystals also occur naturally in meteorites, matter transformed by stars, another place of extreme heat and pressure.

The Trinity test, the world's first nuclear explosion.

Until their observation in the 1980s, physicists regarded quasicrystals as “impossible” because they would have violated the rules scientists had over centuries constructed to define crystalline materials; the quasicrystal was thus a ‘black swan” moment in physics.  Traditionally, crystals were held to possess what were known as “rotational symmetries”, places where the structure could symmetrically be split in half, along one, two, three, four and six axes.  The black swan quasicrystal broke the rules or, more precisely, proved the rules were wrong, demonstrating instead an “icosahedral symmetry” a construct which includes six independent five-fold symmetry axes; as solids with these rotational symmetries, the quasicrystal is unique.  To the US military-industrial complex, it may also prove uniquely useful because, if a sample could be obtained of a quasicrystal created during nuclear tests conducted by other nations, it could be analyzed and might yield new understandings of their programs and weapons.  It’s always been possible to examine radioactive debris and gases to build models of how the devices were built and the materials used but those signatures decay.  Not only might a quasicrystal reveal new information but, and this is obviously most useful if the analytical process uses non-destructive tests, quasicrystals are a form of matter which goes as close (theoretically) to lasting forever as any yet known.

Lindsay Lohan (right) illustrating the typical hue of green trinitite (left).

What’s sometimes described as “trinitite green” and used for glass crockery or decorative items is misleading because such purity was never in New Mexico after the blast.  A glassy material, most trinitite exists in a range between a pale to olive green but smaller quantities in red and black have also been observed, the coloration dependent on the specific minerals and materials in the blast site.  The green is a product of iron while the red comes from the copper electrical wiring used in the Trinity test equipment being fused together with the quartz and feldspar sand grains from the desert floor.  A quirk is that red trinitite is brightly fluorescent under short wave ultra-violet light whereas the more abundant green variety of typically shows little to no fluorescence under UV, the difference again due to the mineral composition.  Black trinitite is rarest, formed by virtue of the presence of iron alone from the tower with no copper content.

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.