Callosity

Callosity (pronounced kuh-los-i-tee)

(1) In pathology, an alternative name for a callus.

(2) In botany, a hardened or thickened part of a plant.

(3) In zoology, as ischial callosity, a large callus on the butts of certain animals.

(4) In the human condition, being of a callous demeanor; insensitivity or hard-heartedness

1375–1425: From the late Middle English calosite, from the Late Latin callōsitās, the construct being callōs(us) (callous) (from callum (hardened skin) +‎ -ōsus (the suffix added to a noun to form an adjective indicating an abundance of that noun)) + -itās which in English was rendered as callus + -ity, the substitute “o” a familiar device.  The –ity suffix was from the French -ité, from the Middle French -ité, from the Old French –ete & -eteit (-ity), from the Latin -itātem, from -itās, from the primitive Indo-European suffix –it.  It was cognate with the Gothic –iþa (-th), the Old High German -ida (-th) and the Old English -þo, -þu & -þ (-th).  It was used to form nouns from adjectives (especially abstract nouns), thus most often associated with nouns referring to the state, property, or quality of conforming to the adjective's description.  Callosity is a noun; the noun plural is callosities.

Essentially a thickening of the skin which forms in response to damage, a callus is one of the body’s protective mechanisms and example of how human skin have evolved to respond to a “fragile” area by replacing it with something “anti-fragile”.  The skin is a good barrier to much which would be dangerous if able to penetrate the surface but easily it can be cut and it’s prone to delimitation if exposed to repeated friction, something well known to gardeners digging holes, the skin on the palms of the hands soon “wearing off” at the points where the handle of the shovel repeatedly rubs.  That will be painful but the body will respond, replacing the dead skin with new skin which is thicker and harder, thus enabling the gardener to soon again pick up their shovel and return to their excavations.  This is an example of the general principle of healthy human physiology which responds to damage not by replacing things with something just as strong but something stronger, able to resist whatever force it was which caused the injury and it is the same with a bone fracture; when the bone knits back together, it will not be merely as strong as it was but a little stronger.  The new skin on the gardener’s hands will also be stronger and as the holes continue to be dug, the skin will become more robust still but the difference should not be thought of as fragile vs robust but as fragile vs anti-fragile, the point being that as pressure is applied, the material responds by becoming less-fragile.

Fragile and robust, although often used as antonyms (and in general use usefully so because the meanings are so well conveyed and understood) are really not opposites but simply degrees of the same thing.  In the narrow technical sense an expression of robustness or fragility is a measure of the same thing; a degree of strength.  The traditions of language obscure this but it becomes clear if measures of fragility or robustness are reduced to mathematics and expressed as comparative values in numbers.  It's true that on such a continuum a point could be set at which point something is regarded as no longer robust and becomes defined as fragile (indeed this is the essence of stress-testing) but this doesn't mean one is the antonym of the other.  The opposite of fragile is actually anti-fragile (the anti prefix was from the Ancient Greek ἀντι- (anti-) (against, hostile to, contrasting with the norm, opposite of, reverse (also "like, reminiscent of"))).  The concept is well known in physiology and part of the object in some forms of strength training is to exploit the propensity of muscles to tear at stress points, relying on the body to repair these tears in a way that doesn’t restore them to their original form but makes them stronger so that if subjected again to the same stress, a tear won’t happen.  It’s thus an act of anti-fragility, the process illustrated also by the calluses which form on the hands after the skin blisters in response to work.  Fragile and robust merely express points on a spectrum and are used according to emphasize the extent of strength; anti-fragile is the true opposite.

The idea of anti-fragile was introduced by Lebanese-born, US-based mathematician and trader Nassim Nicholas Taleb (b 1960) in the book Antifragile: Things That Gain From Disorder (2012), the fourth of five works which explore his ideas relation to uncertainty, randomness & probability, the best-known and most influential was The Black Swan: The Impact of the Highly Improbable (2007).  His work was thoughtful, intriguing and practical and was well received although the more accessible writing he adopted for the later volumes attracted criticism from some who felt an academic style more suited to the complex nature of his material; probably few who read the texts agreed with that.  Apart from the ideas and the use to which they can be put, his deconstruction of many suppositions was also an exploration of the rigidities of thought we allow our use of language to create.

Anti-callus devices (gloves the most common type) are used when the aim is to avoid the growth of a callus, the use of an “artificial callus” sometimes preferable to the natural.  A carpet layer in knee pads (left) and bra strap “cushions” (right).

When the new areas of skin are called calluses (calli the alternative plural), callus from the Latin callum (hard skin).  Most often used to describe the hardened areas of skin (typically on hands & feet) induced as a response to repeated friction, wear or use, in anatomy, the same word is applied to the initially soft or cartilaginous substance exuded at the site of a bone fracture which converts ultimately into bone, knitting the fragments into the one piece.  One the process fully is complete, if again exposed to the same stress, the bone will not break.  In botany, it’s used of the new formation over the end of a cutting. Callus is a noun & verb, the calluses, the present participle callusing and the past, callused.

In some professions, the callus can be close to essential; those whose life involves supporting weights on their shoulders form them on the pressure points, enabling them to ply their trade without undue pain or further damage.  However, not all whose shoulders might suffer welcome calluses, however beneficial they might be:  Women who wish to avoid what manufactures term the “shoulder grooving” caused by the pressure of their bra’s shoulder straps (the physics of this a product of (1) the weight supported and (2) its surface distribution which is dictated essentially by the width of the strap) can buy inserts for the straps which increase the surface area, thereby reducing the specific loading by re-distributing the downward pressure.  A variation on this idea is the “knee pad” worn by those who lay carpets, floor tiles and such.  These folk are compelled to work “on their knees” for hours at a time, often upon hard and sometimes rough surfaces and although, given time, calluses would form were the work to be performed unprotected, it would not be a pleasant experience and the degree of hardening needed would likely adversely affect normal mobility.  In zoology, calluses are a noted environmental adaptation among some species, (Old World) gibbons, monkeys and some chimpanzees having evolved notably large calluses on their butts (described as ischial callosities (the seventeenth century ischium (from the Latin ischium, from the Ancient Greek ἰσχίον (iskhíon) (hip joint)) describing the lowest of the three bones that make up each side of the pelvis).  On the animals so endowed, the advantage is the ability to sleep while sitting upright on thin branches, safe from both predators and the risk of falling.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

In figurative use callosity came to be used to refer to one with a lack of feeling or capacity for emotion but the use when documented comes usually with the caveat that those so described are not “psychopaths” but merely the “hard-hearted”.  So it’s there to be used and if it seems not to suit, English offers has quite an array of choice when speaking of those lacking emotional range.  There is “heartless” & “hard-hearted”, both of which allude to the ancient idea of the special significance of the heart as the source of all that human feeling and character; even now it’s known to be a “just a pump”, the romantic notions persist in many culture and variations of the ❤ symbol are among the most frequently used emojis.  “Cold-blooded” is different in that although it’s blood the heart pumps, the operative word really is “cold”, implying decisions made or actions taken without emotion intruding and in idiomatic use, a “cold-blooded murder” (such as a contract killing done for payment) is viewed with less sympathy than a crime of passion (such murderers of said to have been “seeing the red mist” of “hot” blood at the time of their crime.  “Stolid” and “impassive” differs in that they can often be virtues and anyway suggest not an absence of capacity for feeling but its repression and one who wrote on how essential that was to civilization yet simultaneous damaging to individuals was Sigmund Freud (1856-1939), his ideas later taken up by German-American philosopher Herbert Marcuse (1898–1979).  Mankind probably didn’t surprise Freud but doubtless we disappointed Marcuse.  Finally, there is “stoic” which traces back to the Hellenic school of stoicism, a philosophy with a great following in Antiquity which was intended always to be practical, a way to help citizens live good lives rather than anything concerned with abstractions.  In its pure form it survives in that form but the modern re-purposing of the word means it’s now used to mean something like “suffering in silence”.  “Callosity” then is one of many ways to refer to the “unfeeling” and its use in this context is based on the use in medicine, a callosity (ie a callus) being “skin of abnormal hardness & thickness” which can be poked or pricked with the subject barely feeling the intrusion.  In that it’s subtly different from “thick skinned” which usually means “not easily offended”.

Fragile

Fragile (pronounced fraj-uhl (U) or fraj-ahyl (non-U))

(1) Easily broken, shattered, or damaged; delicate; brittle; frail.

(2) Vulnerably delicate, as in appearance.

(3) Lacking in substance or force; flimsy.

1505–1515: From the Middle English fragile (liable to sin, morally weak), from the Middle French fragile, from the fourteenth century Old French fragele, from the Latin fragilis (easily broken) (doublet of frêle), the construct being frag- (variant stem of the verb frangere (break), from the primitive Indo-European root bhreg- (to break) + -ilis.  The -ilis (neuter -ile) suffix was from the Proto-Italic -elis, from the primitive Indo-European -elis, from -lós; it was used to form an adjective noun of relation, frequently passive, to the verb or root.  It was cognate with fraction & fracture and doublet of frail.  The original meaning from circa 1510 (liable to sin, morally weak) by circa 1600 extended to "liable to break" as a back-formation from fragility which was actually an adoption of the sense in Latin.  The transferred sense "of frail constitution" (of persons) dates from 1858.  The companion adjective frail emerged in the mid fourteenth century in the sense of "morally weak", from the twelfth century Old French fraile & frele (weak, frail, sickly, infirm) (enduring in Modern French as frêle), from the Latin fragilis.  The US slang noun meaning "a woman" is documented from 1908 and although there’s no evidence, etymologists have noted Shakespeare's "Frailty, thy name is woman" (Hamlet, Act I, Scene 2).  The comparative fragiler and the superlative fragilest are both correct but the more elegant “more fragile” and “most fragile” tend to be preferred.  Fragile is used usually as an adjective but can be applied as a noun (typically by folk like furniture movers) or in the same way as “exquisite”.  Fragilely is an adverb and fragility is a noun; the noun plural is fragiles.

Words which are either synonyms or close in meaning include delicate, feeble, frail, weak, brittle, crisp, crumbly, decrepit, fine, flimsy, fracturable, frangible, friable, infirm, insubstantial, shivery, slight & unsound.  The antonym most often used to suggest the opposite quality to fragile is “robust” (evincing strength and health; strong).  Robust dates from circa 1545 and was a learned borrowing from circa 1400 Medieval Latin rōbustus (oaken, hard, strong), the construct being rōbus- (stem of rōbur (oak, strength) + -tus (the adjectival suffix).

Lindsay Lohan looking fragile: Lindsay (2019) by Sam McKinniss (b 1985) (left), from a reference photograph taken 22 July 2012, leaving the Chateau Marmont in West Hollywood, LA (right).

However, fragile and robust, although often used as antonyms (and in general use usefully so because the meanings are so well conveyed and understood) are really not opposites but simply degrees of the same thing.  In the narrow technical sense an expression of robustness or fragility is a measure of the same thing; a degree of strength.  The traditions of language obscure this but it becomes clear if measures of fragility or robustness are reduced to mathematics and expressed as comparative values in numbers.  It's true that on such a continuum a point could be set at which point something is regarded as no longer robust and becomes defined as fragile (indeed this is the essence of stress-testing) but this doesn't mean one is the antonym of the other.

The opposite of fragile is actually antifragile (the anti prefix was from the Ancient Greek ἀντι- (anti-) (against, hostile to, contrasting with the norm, opposite of, reverse (also "like, reminiscent of"))).  The concept is well known in physiology and part of the object in some forms of strength training is to exploit the propensity of muscles to tear at stress points, relying on the body to repair these tears in a way that doesn’t restore them to their original form but makes them stronger so that if subjected again to the same stress, a tear won’t happen.  It’s thus an act of antifragility, the process illustrated also by the calluses which form on the hands after the skin blisters in response to work.  Fragile and robust merely express points on a spectrum and are used according to emphasize the extent of strength; antifragile is the true opposite.

The idea of antifragile was introduced by Lebanese-born, US-based mathematician and trader Nassim Nicholas Taleb (b 1960) in the book Antifragile: Things That Gain From Disorder (2012), the fourth of five works which explore his ideas relation to uncertainty, randomness & probability, the best-known and most influential was The Black Swan: The Impact of the Highly Improbable (2007).  His work was thoughtful, intriguing and practical and was well received although the more accessible writing he adopted for the later volumes attracted criticism from some who felt an academic style more suited to the complex nature of his material; probably few who read the texts agreed with that.  Apart from the ideas and the use to which they can be put, his deconstruction of many suppositions is also an exploration of the rigidities of thought we allow our use of language to create.

Bubbletop

Bubbletop (pronounced buhb-uhl-top)

(1) In aircraft design, a design of pilot’s canopy (originally military slang for what designers dubbed the “bubble canopy”, a Perspex molding which afforded exceptional outward visibility).

(2) An automobile using a transparent structure over the passenger compartment, replacing the usual combination of roof & windows.

(3) A descriptor of certain automobiles of the early 1960s, based on the shape rather than the method of construction, the conventional metal and glass used.

1940s: The construct was bubble +‎ top.  Bubble dates from the late fourteenth century and was from the Middle English noun bobel which may have been from the Middle Dutch bubbel & bobbel and/or the Low German bubbel (bubble) and Middle Low German verb bubbele, all thought to be of echoic origin.  The related forms include the Swedish bubbla (bubble), the Danish boble (bubble) and the Dutch bobble.  Top pre-dates 1000 and was from the Middle English top, toppe & tope (top, highest part; summit; crest; tassel, tuft; (spinning) top, ball; a tuft or ball at the highest point of anything), and the Old English top & toppa (top, summit, tuft of hair), from the Proto-West Germanic topp, from the Proto-Germanic tuppaz (braid, pigtail, end), of unknown origin.  It was cognate with the Old Norse toppr (top), the Scots tap (top), the North Frisian top, tap & tup (top), the Saterland Frisian Top (top), the West Frisian top (top), the Dutch top (top, summit, peak), the Low German Topp (top), the German Zopf (braid, pigtail, plait, top), the Swedish topp (top, peak, summit, tip) and the Icelandic toppur (top).  Alternative forms are common; bubble-top in automotive & aeronautical engineering and bubble top in fashion.  Bubbletop is a noun and bubbletopped is an adjective; the noun plural is bubbletops.

Evolution of the Mustang's bubbletop: P-51C (top), P-51 III (centre) and P-51D (bottom).

“Bubbletop” began as World War II (1939-1945) era military slang for officially was described as the “bubble canopy”, the transparent structure sitting atop the cockpit of fighter aircraft, the advantages being (1) superior visibility (the purest interpretation of the design affording an unobstructed, 360° field-of-view, (2) improved aerodynamics, (3) easier cockpit ingress & egress (of some significance to pilots force to parachute and (4), weight reduction (in some cases).  Bubbletops had been seen on drawing boards in the early days of aviation and some were built during World War I (1914-1918) but it was the advent of Perspex and the development of industrial techniques suitable for the creation of large, variably-curved moldings which made mass-production practical.  The best known early implementations were those added to existing air-frames including the Supermarine Spitfire, Republic P-47 Thunderbolt and North American P-51 Mustang.  By 1943, the concept had become the default choice for fighter aircraft and the technology was applied also to similar apparatuses used elsewhere on the fuselage where they were styled usually as “blisters”.  In the post war years it extended to other types, most dramatically in the Bell 47 helicopter where the cabin was almost spherical, some 70% of the structure clear Perspex.

The enormous and rapid advances in wartime aeronautics profoundly influenced designers in many fields and nowhere was that more obvious than in the cars which began to appear in the US during the 1950s.  Elements drawn variously from aeronautics and ballistics did appear in the first generation of genuinely new post-war models (most of what was offered between 1945-1948 being barely revised versions of the 1942 lines) but it was in the next decade the designers were able to embrace the jet-age (a phrase which before it referred to the mass-market jet-airline travel made possible by the Boeing 707 (which entered commercial service in 1958) was an allusion to military aircraft, machines which during the Cold War were a frequent sight in popular culture).  On motif the designers couldn’t resist was the bubble canopy, something which never caught on in mass-production although Perspex roofed cars were briefly offered before word of their unsuitability for use in direct sunlight became legion.

GM Firebird XP-21 (Firebird I, 1953).

Not content with borrowing the odd element from aircraft, the General Motors (GM) team decided the best way to test which concepts were adaptable from sky to road was to “put wheels on a jet aircraft” and although they didn’t do that literally, by 1953 when Firebird XP-21 was first displayed, it certainly looked as though it was exactly that.  Its other novelty was it was powered by a gas turbine engine, the first time a major manufacturer in the US had built such a thing although a number of inventors had produced their own one-offs.  When the XP-21 (re-named Firebird I for the show circuit) made its debut, some in the press referred to it as a “prototype” but GM never envisaged it as the basis for a production car, being impractical for any purpose other than component-testing; it should thus be thought of as a “test-bed”.  The bubble canopy looked as if it could have come from a US Air Force (UFAF) fighter jet and would have contributed to the aerodynamically efficiency, the 370 hp (280 kW), fibreglass-bodied Firebird I said to be capable of achieving 200 mph (320 km/h) although it’s believed this number came from slide-rule calculations and was never tested.  Despite that, in its day the Firebird II made quite a splash and a depiction of it sits atop the trophy (named after the car’s designer, Harley Earl (1893–1969), the long time head of GM’s styling studio) presented each year to the winner of NASCAR’s (National Association for Stock Car Auto Racing) premiere event, the Daytona 500.

GM Firebird II (1956).

Compared with its predecessor, the Firebird II (1956), rendered this time in titanium was almost restrained, the Perspex canopy a multi-part structure over a passenger compartment designed to seat “a family of four”.  The family might have chosen to drive mostly in darkness because the heat build-up under the midday sun would have tested the “individually-controlled air conditioning”, a system upon which comfort depended because the Perspex sections were fixed; there were no opening “windows”.  Still, even if hot, the family would have got places fast because the same 200 mph capability was claimed.

GM Firebird III (1958).

The Firebird III was displayed at the 1958 Motorama and although GM never built any car quite like it, within a season, elements of it did begin to appear on regular production models in showrooms (notably the rear skegs which Cadillac used for a couple of years) and some of its features are today standard equipment in even quite modest vehicles.  The striking “double bubbletop” never made the assembly lines although some race cars have at least partially implemented the concept.  What proved more of a harbinger was the specification, the Firebird III fitted with anti-lock brakes, cruise control, air conditioning, an automated “accident avoidance system” and instead of a steering wheel, the driver controlled the thing with a joystick, installed in a centrally-mounted “Unicontrol & Instrument Panel”.  All these were analogue-era electro-mechanical devices too bulky, fragile or expensive for mass production, wider adoption in the decades to come made possible by integrated circuits (IC) and micro-processors.

1959 Cadillac Cyclone (XP-74).

Borrowing from the Firebird II, Cadillac also used a bubble top for the Cyclone (XP-74) concept car which in 1959 toured the show circuit.  Although it was powered by the corporation’s standard 390 cubic inch (6.5 litre) V8, there was some adventurous engineering including a rear-mounted automatic transaxle and independent rear suspension (using swing axles, something not as bad as it sounds given the grip of tyres at the time) but few dwelt long on such things, their attention grabbed by features such as the bubble top (this time silver coated for UV (ultra violet) protection) which opened automatically in conjunction with the electrically operated sliding doors.  The Perspex bubble canopies from fighter aircraft never caught on for road or race cars but so aerodynamically efficient was the shape it found several niches.

1953 Ferrari F166MM Spider by Vignale (left) and 1968 MGCGT (centre & right).

Bubbles often appeared atop the hood (bonnet) to provide clearance for components inconveniently tall.  Most were centrally located (there was the occasional symmetrical pair) but the when BMH (British Motor Holdings, the old  BMC (British Motor Corporation) shoehorned their big, heavy straight-six into the MGB (1963-1980), it wouldn’t fit under the bonnet, the problem not the cylinder head but the tall radiator so the usual solution of a “bonnet bulge” was used.  However, for that to clear the forward carburetor, the bulge would have been absurdly high so a small bubble (and usually, ones this size are referred to as "blisters") was added.  It probably annoyed some there wasn’t a matching (fake) one on the other side but it’s part of the MGC’s charm, a quality which for years most found elusive although it’s now more appreciated.  For MGC owners wish to shed some weight or for MGB owners who like the look, the “bonnet with bubble” is now available in fibreglass.

The winning Ford GT40 Mark IV (J-Car) with bubble to the right, Le Mans 1967 (left) and the after-market (for replicas) “Gurney Bubble” (right).

US racing driver Dan Gurney (1931–2018) stood 6' 4" (1.9 m) tall which could be accommodated in most sports cars and certainly on Formula One but when he came to drive the Ford GT40 Mark IV it was found he simply didn’t fit when wearing his crash helmet.  The original GT40 (1964) gained its name from the height being 40 inches (1016 mm) but Mark IV (the “J-Car”, 1966) was lower still at 39.4 inches (1,000 mm).  Gurney was the tallest ever to drive the GT40 and the solution sounds brutish but fix was effected elegantly, a “bubble added to the roof to clear the helmet.  Gurney and AJ Foyt (b 1935) drove the GT40 to victory in the 1967 Le Mans 24-hour endurance classic and the protrusion clearly didn’t compromise straight-line speed, the pair clocked at 213 mph (343 km’h), on the famous 3.6-mile Mulsanne Straight (which was a uninterrupted 3.6 miles (5.8 km) until the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation and world sport’s dopiest regulatory body) imposed two “chicanes”),  Known ever since as the “Gurney Bubble”, such is the appeal that they’re now available for any GT40 replica: Like the AC Shelby Cobra, the GT40 “reproduction” industry is active and there are many times more of these than there are survivors of 105 originals.

Ferrari 250 GT “Tour de France” LWB Berlinettas by Zagato: The “double bubble” roof (left), the Hofmeister kink (centre) and the famous “Z” kink, (right).

The Italian coachbuilding house Zagato was founded in 1919 by Ugo Zagato (1890-1968) and since the early post-war years, their designs have sometimes been polarizing (the phrase “acquired taste” sometimes seen), their angularity often contrasted with the lines of other, notably Pinninfarina and Bertone but unlike many which have over the years folded, Zagato remains active still.  One Zagato design never criticized was his run in 1956 of five Ferrari 250 GT “Tour de France” LWB Berlinettas, memorable also for introducing the signature “Zagato double-bubble roof.  The roof was practical in that it better accommodated taller occupants but it really was a visual trick and a variation on the trick Mercedes-Benz used on the “Pagoda” (W113; 230, 250 & 280 SL; 1963-1971) which they explained by saying “We didn’t lower the roof, we rained the windows”.  The other famous feature (which appeared on only one) was the fetching “Z” shape on the rear pillar, replacing the “Hofmeister kink” used on some others.

1962 Chevrolet Impala “bubbletop” Sport Coupe (left), 1963 Ford Consul Capri (centre) and 1972 BMW 3.0CS (E9, right).

The 1959 Chevrolet quickly came to be nicknamed “bubbletop” and the style spread, both within GM and beyond.  The “bubbletop” reference was to the canopy on aircraft like the P-51D Mustang but was an allusion to the shape, not the materials used; on cars things were done in traditional glass and metal.  Across the Atlantic, Ford in the UK applied the idea to their Consul Capri (1961-1964), a two-door hardtop which the company wanted to be thought of as a “co-respondent's” car (ie the sort of rakish design which would appeal to the sort of chap who slept with other men’s wives, later to be named as “co-respondent” in divorce proceedings).  The Capri was a marketplace failure and the styling was at the time much criticized but it’s now valued as a period piece.  Chevrolet abandoned the look on the full-size cars after 1963 but it was revived for the second series Corvair (1965-1969).  A fine implementation was achieved in the roofline of the BMW E9 (1968-1975) which remains the company’s finest hour.

The bubble shirt and bubble tops.

The bubble skirt (worn by Lindsay Lohan (centre)) is one of those garments which seems never to quite die, although there are many who wish it would.  Once (or for an unfortunate generation, twice) every fashion cycle (typically 10-12 years), the industry does one of its "pushes" and bubble skirts show up in the high street, encouraged sometimes by the odd catwalk appearance; it will happen again.  While the dreaded bubble skirt is easily identifiable, the “bubble top” is less defined but there seem to be two variations: (1) a top with a “bubble skirt-like” appendage gathering unhappily just above the hips (left) and (2) a kind of “boob tube” which, instead of being tightly fitted is topped with an additional layer of material, loosely gathered.  The advantages of the latter (which may be thought of as a “boob bubble”) are it can (1) without any additional devices create the illusion of a fuller bust and (2) allow a strapless bra to be worn, something visually difficult with most boob tubes because the underwear’s outline is obvious under the tight material.

Bohemian

Bohemian (pronounced boh-hee-mee-uhn)

(1) A native or inhabitant of Bohemia.

(2) A person, as an artist or writer, who lives and acts free of regard for conventional rules and practices (technically should be lowercase but rule often not observed.)

(3) The Czech language, especially as spoken in Bohemia.

(4) Slang term sometime applied to Gypsies (Roma or Travelers), especially in central and eastern Europe.

(5) Of or relating to Bohemia, its people, or their language, especially the old kingdom of Bohemia; a Czech.

(6) Pertaining to or characteristic of the unconventional life of a bohemian (again, should be lowercase).

(7) Living a wandering or vagabond life.

1570-1580:  The construct was Bohemi(a) + -an (the adjectival suffix).  The modern meaning "a gypsy of society" dates from 1848, drawn from the fifteenth century French bohemién, from the country name.  Meaning is thus associative, from the prevailing French view that gypsies (Roma or Travelers) came from Bohemia (and technically, their first appearance in Western Europe may have been directly from Bohemia).  An alternative view is it’s from association with fifteenth century Bohemian Hussite heretics who had been driven from their country about that time; most etymologists prefer the former.

A bohemian was thus something of “a gypsy of society; a person (especially a painter, poet etc) who lives a free and somewhat dissipated life, rejecting the conventionalities of life and having little regard for social standards”.  The transferred sense, in reference to unconventional living, is attested in French by 1834 and was popularized by Henri Murger's (1822-1861) stories from the late 1840s, later collected as Scenes de la Vie de Boheme (which formed the basis of Puccini's La Bohème).  It appears in English in that sense in William Makepeace Thackeray's (1811–1863) Vanity Fair (1848); the Middle English word for "a resident or native of Bohemia" was Bemener.

1934 German 40 Pf postage stamp.  President von Hindenburg once vowed never to appoint Hitler Chancellor (head of government), saying the highest office he's grant would be as a postmaster where "he could lick the stamps with my head on them."

As a descriptor of lifestyle, in the West, bohemian sometimes has a romantic association with freedom but it can also be a put-down.  In translation it can also be misunderstood.  Paul von Hindenburg (1847–1934; Field Marshal and German head of state 1925-1934) dismissively called Adolf Hitler (1889-1945; Nazi head of government 1933-1945 & head of state 1934-1945) a Böhmischer Gefreiter which is usually translated in English as “bohemian corporal”, leading many to conclude it was a reference to his famously erratic routine and self-described (and promoted) artistic temperament.  Actually Hindenburg was speaking literally.  In the Austro-Prussian War of 1866, he’d served as an officer in the Prussian Army, at one point passing through the Bohemian village named Broumov (Braunau in German and now located in the Czech Republic) and knowing Hitler had been born in Braunau, assumed the future Führer had been born a Bohemian.  Hitler however was actually born in the Austrian town of Braunau in Austria although the Field Marshal was right about him being a Gefreiter (an enlisted rank in the military equating with a lance corporal or private first class (PFC)), that being Hitler’s role in the First World War (1914-1918)).  If vague on geography, one would expect Hindenburg to get the military terminology correct; he once claimed the only books he ever read were the Bible and the army manual.

Either way, the president’s slight was a deliberate, class-based put-down, the army’s often aristocratic (and predominately Prussian) officer corps regarding a corporal from somewhere south as definitely not “one of us” and one didn’t even have to come from as far south as Austria to earn Prussian disapprobation; Otto von Bismarck (1815–1898; Chancellor of the German Empire 1871-1890) once described Bavarians as “halfway between an Austrian and a human being”.  Even a Bavarian officer however could think himself superior to an Austrian corporal and Ernst Röhm (1887-1934; the most famous victim of the 1937 Nacht der langen Messer (Night of the Long Knives (Unternehmen Kolbri (Operation Hummingbird)) and referred to by the Nazis as the Röhm Putsch) more than once dismissed Hitler as a lächerlicher Gefreiter (ridiculous corporal).  Hindenburg’s phrase was well-known among the officer corps and generals were known to repeat it when among friends.  Most famously it was reprised by Field Marshal Friedrich Paulus (1890–1957) who is now remembered only for commanding the doomed Sixth Army, surrendering the remnants to Soviet forces in February 1943.  Hitler promoted him to Field Marshal just before the city fell, explaining that he wanted to give him “this last satisfaction”, the sub-text being that no German Field Marshal had ever been captured and that Paulus should draw his own conclusions and commit suicide.  Paulus however decline to shoot himself for that “Böhmischer Gefreiter”.

La Bohème (1896) by Giacomo Puccini

In 1830s Paris, some bohemian youths are living in squalid flats in the Latin Quarter.  Two of them, the writer Rodolfo and the frail Mimi, meet by chance when Mimi knocks on her neighbor Rodolfo’s door because her solitary candle has blown out.  He lights it for her and they fall in love.  These days, they'd be thought a couple of emos.

They have their ups and downs, as Puccini’s lovers do, and Rodolfo, though finding Mimi a bit highly-strung, really loves her but fears her staying with him and living in such poverty will damage her fragile health.  Worried she may die, he decides to leave.  Hearing this, Mimi is overcome with feelings of love and they make a pact to stay together until spring, after which they can separate.

In early spring, in Rodolfo arms, Mimi falls gravely ill and the bohemians rush off to sell their meager possessions so they can buy her medicine.  Together the two lovers recall how they met and talk of their poor, happy days together.  She takes medicine but her condition worsens and she dies, leaving Rodolfo in inconsolable grief.

Maria Callas (1923-1977) was as improbable a Mimi as she was a Madam Butterfly and never performed the role on-stage.  However, in 1956, under Antonino Votto (1896-1985) in Milan, she, with Giuseppe di Stefano (1921-2008) as Rodolfo, recorded the Opera for Decca and it’s one of the great Callas performances.  To this day, it's the most dramatic La Bohème available on disc.

A generation later, under Herbert von Karajan (1908-1989), Mirella Freni (1935-2020) and Luciano Pavarotti (1935-2007) recorded it for Decca.  Karajan, better known for conducting Wagner with hushed intensity, produced a lush and romantic interpretation.

Lindsay Lohan in a bohemian phase, New York, 2014.

In fashion, the bohemian look (boho or boho chic for short) is sometimes said to be not precisely defined but that’s really not true because the style is well-understood and, done properly, can’t be mistaken for anything else.  Although the trick to the look is in the layering of the elements, the style is characterized by long flowing or tiered skirts and dresses, peasant blouses, clichéd touches like tunics or wood jewelry, embroidery or embellishment with beading, fringed handbags, and jeweled or embellished flat sandals (or flat ankle boots).  Boho dresses owe much to the pre-Raphaelite women of the late nineteenth century although in the popular imagination there’s more of an association with the hippies of the 1960s (and those of the 1970s who didn’t realize the moment had passed).  The terms bohemian & boho obviously long pre-dated the hippie era but as fashion terms boho & boho-chic didn’t come into widespread use until early in the twenty-first century.

Spat

Spat (pronounced spat)

(1) A petty quarrel; a dispute.

(2) A light blow; a slap or smack (now rare).

(3) A classic footwear accessory for outdoor wear (technically an ankle-length gaiter), covering the instep and ankle, designed to protect these areas from mud & stones etc which might be splattered (almost always in the plural).

(4) In automotive design, a piece of bodywork on a car's fender encapsulating the aperture of the wheel-arch, covering the upper portion of the wheel & tyre (almost always on the rear) and used variously to reduce drag or as a aesthetic choice.  In the US, these tend to be called "fender skirts".

(5) In aviation, on aircraft with fixed undercarriages, a partial enclosure covering the upper portion of the wheel & tyre, designed to reduce drag.

(6) In zoology, a larval oyster or similar bivalve mollusc, applied particularly when one settles to the sea bottom and starts to develop a shell; young oysters collectively, especially seed oysters.

1350-1400: From the Middle English spat (argument, minor scuffle), from the Anglo-Norman spat, of unknown origin but presumed related either to (1) being the simple past tense & past participle of spit or (2) something vaguely imitative of the sound of a dispute in progress.  In use, a spat implies a dispute which is minor and brief.  That doesn’t preclude violence being involved but the word does tend to be applied to matters with few serious consequences but a spat can of course escalate to something severe at which point it ceases to be a spat and becomes a brawl, a fight, a murder, a massacre or whatever the circumstances suggest is appropriate.  Otherwise, a spat is synonymous with words like bickering, brouhaha, disagreement, discord, falling-out, feud, squabble, tiff or argument.

As a descriptor of the short gaiter covering the ankle (which except in technical and commercial use is used only in the plural), use dates from 1779 as an invention of American English and a shortening of the trade-terms spatterdash (or splatterguard) (long gaiter to keep trousers or stockings from being spattered with mud), the construct being spatter + dash (or guard), the former the same idea as the noun dashboard which was a timber construction attached to the front of horse-drawn carriages to protect the passengers from mud or stones thrown up when the beasts were at a dash.  In cars, the use of the term dashboard persisted although the device both shifted rearward (aligned with the cowl (scuttle) & windscreen) and changed in function.  In aircraft where the link to horse-drawn transport didn’t exist, the preferred equivalent term became “instrument panel”.

Stanley Melbourne Bruce (front row, second from left) in spats, official photograph of his first cabinet, Melbourne, 1923.

Spats date from a time when walking in cities could be a messy business, paved surfaces far from universal.  As asphalt and concrete became commonplace in the twentieth century, spats fell from frequent use though there were those who clung to them as a fashion accessory.  Stanley Melbourne Bruce (1883–1967; prime minister of Australia 1923-1929) liked spats and wore them as late as the 1940s but historians of fashion note it's said nothing was more influential in their demise than George V (1865–1936; King of the United Kingdom 1910-1936) eschewing them after 1926.

However, despite losing the imprimatur of the House of Windsor (ex Saxe-Coburg and Gotha), when Disney in 1947 created Scrooge McDuck (the world's richest duck, noted for diving into his vast "money bin" to swim among the cash), spats must still have been associated with wealth and uncle Scrooge has almost always been depicted sporting a pair.

Spats (left) and gaiters (centre & right).  Historically, gaiters were either medium (mid-calf) or long (reaching to the knee) while the shorter variations, extending from ankle to instep, were known as spats.  In the fashion industry, the terms gaiters and spats are often used interchangeably and except among the equestrian and other horse-oriented crowds, they now exist only as a fashion item, improvements in the built-environment meaning the need for them as functional devices has diminished.  They days, spats tend to be seen only in places like the Royal Enclosure at Ascot or smart weddings (used as a wealth or class signifier) although variations are still part of some ceremonial full-dress military uniforms.  Technically, a spat probably can be called a “short” or “ankle-length” gaiter but it’s wise to use “spat” because gaiters are understood as extending higher towards the knee.

Lindsay Lohan in SCRAM bracelet (left), the SCRAM (centre) and Chanel's response from their Spring 2007 collection (right).

Spats for the twenty-first century: Before Lindsay Lohan began her “descent into respectability” (a quote from the equally admirable Mandy Rice-Davies (1944-2004) of MRDA fame), Lindsay Lohan inadvertently became of the internet’s early influencers when she for a time wore a court-ordered ankle monitor (often called “bracelets” which etymologically is dubious but rarely has English been noted for its purity).  At the time, many subject to such orders often concealed them under clothing but Ms Lohan made her SCRAM (Secure Continuous Remote Alcohol Monitor) a fashion statement, something that compelled the paparazzi to adjust their focal length to ensure her ankle of interest appeared in shots.  The industry responded with its usual alacrity and “ankle monitor” purses were soon being strutted down the catwalks.

Chanel's boot-mounted ankle purse in matching quilted black leather.

In one of several examples of this instance of Lohanic influence on design, in their Spring 2007 collection, Chanel included a range of ankle bags.  Functional to the extent of affording the wearing a hands-free experience and storage for perhaps a lipstick, gloss and credit card (and the modern young spinster should seldom need more), the range was said quickly to "sell-out" although the concept hasn't been seen in subsequent collections so analysts of such things should make of that what they will.  Chanel offered the same idea in a boot, a design actually borrowed from the military although they tended to be more commodious and, being often used by aircrew, easily accessible while in a seated position, the sealable flap on the outer calf, close to the knee.

On the Jaguar 2.4 & 3.4 (1955-1959, top row; later retrospectively named Mark 1), full-sized spats were standard equipment when the standard wheels were fitted but some owners used the cut-down versions (available in at least two designs) fitted when the optional wire wheels were chosen.  For use in competition, almost all drivers removed the spats.  The Mark 2 (bottom row;1959-1969) was never fitted with the full-size units but many used slimmer version available from both the factory and third-party suppliers; again, in competition, spats in any shape were usually discarded.  On the big Jaguars, spats (which had already been scalloped) disappeared after production of the Mark IX ended in 1961.    

On cars, it wasn’t until the 1930s that spats (which some English manufacturers called "aprons" and in the US they came to be called “fender-skirts” though the original slang was “pants”) began to appear as the interest in streamlining and aerodynamic efficiency grew and it was in this era they became also a styling fad which, for better and worse, would last half a century.  They’d first been seen in the 1920s as aerodynamic enhancements on speed record vehicles and some avant-garde designers experimented with enveloping bodywork but it was only late in the decade that the original style of separate mudguards (later called cycle-fenders) gave way to more integrated coachwork where the wheel-arch was an identifiable feature in the modern sense.  Another issue was that the early tyres were prone to wear and damage and needed frequently to be changed, hence the advantage of making access to the wheels un-restricted.  In the 1930s, as streamlining evolved as both a means to reduce drag (thus increasing performance and reducing fuel consumption) and as a styling device, the latter doubtlessly influenced by the former.  On road cars, spats tended to be used only at the rear because of the need to provide sufficient clearance for the front wheels to turn although there were manufacturers (Delahaye, Nash and others) which extended use to the front and while this necessitated compromise (notably the turning circle and cooling of the brakes), there were some memorable art-deco creations.

The aerodynamic advantages were certainly real, attested by the tests conducted during the 1930s by Mercedes-Benz and Auto-Union, both factories using spats front and rear on their land-speed record vehicles, extending the use to road cars although later Mercedes-Benz would admit the 10% improvement claimed for the 1937 540K Autobahn-kurier (highway cruiser) was just “a calculation” and it’s suspected even this was more guesswork than math.  Later, Jaguar’s evaluation of the ideal configuration to use when testing the 1949 XK120 on Belgium roads revealed the rear spats added about 3-4 mph to top speed though they precluded the use of the lighter wire wheels and did increase the tendency of the brakes to overheat in severe use so, like many things in engineering, it was a trade-off.

1958, 1959 & 1960 Chevrolet Impalas.  Not actually wildly popular when new, accessory spats now often appear on restored cars as a “period accessory”.

In the post-war years, concerns with style rather than specific aerodynamic outcomes probably prevailed.  In the US especially, the design motifs borrowed from aircraft and missiles (where aerodynamic efficiency was important and verified in wind tunnels) were liberally applied to automobiles but in some cases, although they actually increased drag, they anyway appeared on production cars because they lent the desired look.  Because they added to the cost of production, spats tended often to be used on the more expensive ranges, this association encouraging after-market accessory makers to produce them, often for models where they’d never been available as a factory fitting or option.  Although now usually regarded as naff (at least), there’s still some demand because they are fitted sometimes (often in conjunction with that other acquired taste period-accessory, the "Continental" spare-tyre kit) by those restoring cars from the era although the photographic record does suggest that when the vehicles were new, such things were vanishingly rare.

Spats vanished from cars made in the UK and Europe except among manufacturers (such as Citroën) which made a fetish of conspicuous aerodynamics and in the US, where they endured, increasingly they appeared in cut-down form, exposing most of the wheel with only the upper part of the tyre concealed.  By the mid 1990s spats appeared only on some of the larger US cars (those by then also down-sized from their mid-seventies peak) and none survived into the new century, the swansong the 1996 Cadillac DeVille.  However, the new age of efficiency did see a resurgence of interest with spats (some actually integrated into the bodywork rather than being detachable) used on some electric and hybrid vehicles where every possible way of optimizing the use of energy is deployed.

1 1937 Mercedes-Benz 540K Autobahn-kurier
2 1937 Mercedes-Benz W125 Rekordwagen
3 1937 Auto-Union Type C Stromlinie
4 1939 Mercedes-Benz W154 Rekordwagen
5 1939 Mercedes-Benz T80 Rekordwagen
6 1940 Mercedes-Benz 770K Cabriolet B
9 1970 Porsche 917 LH
8 1988 Jaguar XJR9

1939 Mercedes-Benz T80, Mercedes-Benz Museum, Stuttgart, Germany.

Designed by Ferdinand Porsche (1875–1951), the Mercedes-Benz T80 was built between 1937-1939 to lay siege to the world land speed record (LSR) but with the outbreak of World War II (1939-1945), the attempt was never made.  It was a single-purpose machine designed to achieve maximum terminal velocity and for that reason, the T80 was an exercise in pure functionalism; not one nut or bolt was used other than for the purpose of ensuring its top speed would be as high as possible.  Cognizant of the existing record, the initial goal was 550 km/h (342 mph) but as others in the late 1930s raised the mark, so were Professor Porsche’s ambitions and when the final specification was set in 1939, the target was 650 km/h (404 mph) (not 750 km/h (466 mph) as is sometimes quoted).  Configured with six wheels, the T80 would have used a supercharged, fuel-injected, 44.5 litre (2716 cubic inch) Daimler-Benz DB 603 inverted V12 aero-engine, an enlarged version of the DB 601 which powered a number of Messerschmitts and other warplanes.  Intended for use in bombers, the T80’s engine was actually the third DB 603 prototype and was initially tuned to generate some 2237 kW (3000 horsepower) on an exotic cocktail of methyl alcohol (63%), benzene (16%), ethanol (12%), acetone (4.4%), nitrobenzene (2.2%), avgas (2%), and ether (0.4%) with MW (methanol-water) injection for charge cooling and as an anti-detonant.  This was more than twice the output of the Hurricanes, Spitfires and Messerschmitts which in 1940 fought the Battle of Britain but Porsche’s calculations suggested 2,574 kW (3,500 hp) would be needed to touch the 650 km/h target and the DB 603 would have been re-tuned to achieve this as an “emergency war rating”.

1939 Mercedes-Benz T80, Mercedes-Benz Museum, Stuttgart, Germany.

Some 8 metres (26 feet) in length with two of the three axles providing drive, the weight when fuelled and crewed was some 2600 kg (2.9 short tons) while the measured coefficient of drag (CD) was reported at 0.18, an impressive figure for such a thing as late as the 1990s and it would have been lower still, had wind-tunnel testing not revealed the need to add two small “winglets” to provide sufficient down-force to ensure the shape didn’t at speed assume the characteristics of an aeroplane and "try to take off" and notably, when in 1964 the Bluebird-Proteus CN7 set the flying mile record at 403.1 mph (648.7 km/h), it was the first LSR machine to include “ground effect” technology to reduce lift.  Fundamentally, the aerodynamics are thought sound although there would be the usual vulnerability to cross-winds, the cause of several deaths in such attempts and the surface conditions of what was a temporarily closed public road would also have been critical; whether the tyre technology of the time would have been adequate under such conditions will never be known.  Had the T80 been run on the long, flat straights of the salt flats in the US (Bonneville) or Australia (Lake Eyre), the prospects of success would have been better but for propaganda purposes (always a theme for the Nazis) the LSR runs had to be on German soil.

Bluebird-Proteus CN7, Lake Eyre, Australia, 1964.

The plan was for the attempt to be staged in January 1940 during what the regime dubbed RekordWoche (Record Week) on a section of the Berlin-Halle-Leipzig autobahn (now part of the A9), closed for the occasion.  The legend is that Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) himself choose the nickname Schwarzer Vogel (Black Bird) but that too may have been propaganda.  The design was all done in the era of slide rules and although some computer work has been applied to emulating the event, there’s no consensus on whether the T80 really would have hit 650 km/h and set the world land speed record (LSR).  As it was, it wasn't until November 1965 that the 650 km/h mark was reached by a machine powered by four fuel injected Chrysler 426 cubic inch (7.0 litre) hemi V8s.  On the Bonneville Salt Flats, it recorded a two-way average of 658.526 km/h (409.277 mph).

Ground effects: 1970 Chaparral 2J (the "sucker car"). 

The most extraordinary vindication of the concept was probably the 1970 Chaparral 2J, built for the Canadian-American Challenge Cup (the Can-Am, a series for unlimited displacement sports cars under the FIA’s minimalist Group 7 rules).  Although using a similar frame and power-plant (the all aluminum, 427 cubic inch (7.0 litre) Chevrolet V8 (ZL1)) as most of its competition, it differed in that the bodywork was rather more rectilinear, the transmission was semi-automatic and, most intriguingly, the use of two small auxiliary engines (Rockwell JLO 247 cm³ two-stroke, two-cylinder units which usually powered snowmobiles).  Unlike the auxiliary engines used in modern hybrids which provide additional or alternative power, what the Rockwells did was drive two fans (borrowed from the M-109 Howitzer, the US Army’s self-propelled 155 mm (6 inch) cannon) which pumped air from underneath at 9650 cfm (cubic feet per minute) (273 m3 per minute), literally sucking the 2J to the road, the technique enhanced by a Lexan (a thermoplastic polymer) skirt which partially sealed the gap between the shell and the road.  The rear spats (integrated into the body-shell) were part of the system, offering not only their usual contribution to reduced drag but increasing the extent of the suction generated by the extractor fans.  The 2J was immediately faster than the competition but the suction system proved fragile although, as a proof of concept it worked and it was clear that only development was needed to debug things.  Unfortunately, innovation and high speeds have always appalled the FIA (the Fédération Internationale de l'Automobile which has for decades been international sport’s dopiest regulatory body) and they banned the 2J.  Really, the FIA should give up on motorsport and offer their services to competitive crochet where they can focus on things like pins and needles not being too sharp.

1949 Delahaye 175-S Saoutchik roadster (left), 1967 Cadillac Fleetwood Sixty Special  (centre) & 2016 Rolls-Royce Vision Next 100 (electric) (right).

Fashions change and spats in the post-war years became unfashionable except in the odd market segment which appealed to an older demographic and even there, as the years were by, they were cut-away, revealing more of the wheel & tyre but they never entirely went away and designers with big computers now don’t even need even bigger wind tunnels to optimize airflow and spats have been displayed which are mounted vertically, some even responding to dynamic need by shifting location or direction.

Flown first in 1938 and named after the Spartan admiral Lysander (circa 467-395 BC), the Westland Lysander was a British army co-operation and communications aircraft used extensively during the Second World War (1939-1945).  Although it couldn’t match the extraordinary STOL (short Take-Off & Landing) performance of the its German contemporary the Fieseler Fi 156 Storch, it was capable, robust and had a good enough short-field capability to perform valuable service throughout the conflict.  Like many aircraft with a fixed undercarriage, partially enveloping spats were fitted to reduce drag but those on the Lysander had the unusual feature of being fitted with their own removable spats (similar to those used on automobiles).  Once these were dismounted, assemblies could be fitted to mount either Browning machine guns or stub wings which could carry light bombs or supply canisters.  The arrangement was popular with ground crew because the accessibility made servicing easy and pilots appreciated the low placement because the change in weight distribution had little adverse effect on handling characteristics.