Gild

Gild (pronounced gild)

(1) To coat with gold, gold leaf, or a gold-colored substance.

(2) To render something with a bright, pleasing, or specious aspect; having the color or appearance of gold.

(3) Smear with blood; to make red, as with blood (archaic except in historic reference).

(4) To adorn in some way.

(5) In cooking, to render some surface with a golden appearance.

(6) To make appear drunk (now rare).

1300–1350: From the Middle English gilden & gulden (to gild, to cover with a thin layer of gold), from the Old English gyldan (akin to gold) and related to the Old Norse gylla (to gild), the Old High German ubergulden (to cover with gold) (the verb from gultham (gold)) and the Middle High German vergülden, from the Proto-West Germanic gulþijan, from the Proto-Germanic gulþijaną, from gulþą (gold).  In historic UK use, the noun gildsman was an alternative spelling of guildsman (a man who is a member of a guild).   Gild is a noun & verb, gilding is a verb & adjective, gilded is a verb, begild is a verb & adjective and begilded & gildable is an adjective.

1967 Cadillac Eldorado.

The figurative use of gild apparently began in the late sixteenth century.  The noun gilding (golden surface produced by gilding (the verb)" was from the mid fifteenth century, the verb pre-dating the form by some two decades.  The adjective gilded emerged 1400 as the past participle of the Middle English gilden and by the early fifteenth century was used also as a noun with the sense of "gilding".  The noun eldorado entered English in the 1590s from the Spanish El Dorado (the golden one ( the name given in the sixteenth century to the country or city laden with gold believed to lie in the heart of the Amazon jungle)); it was derived from the past participle of dorar (to gild), from Latin deaurare (to gild, to gild over), the construct being de- (probably used here as an intensifier) + aurare (to gild), from aurum (gold).  The legend began with the tales of early Spanish explorers and, regarding gold, there would once have been some truth in the story but, in the way of such things, there was embellishment (gilding the story as it were) until Eldorado was thought a city where the “streets were paved with gold” and for two centuries this drew explorers and adventurers.

Cartoon with a modern feeling: Chicago Labor Newspaper's (1894) critique of the policies of the Pullman railroad company.

The terms “gilded age” and “golden age” are sometimes confused, the former coined by Mark Twain (1835-1910) and Charles Dudley Warner (1829-1900) as the title of their 1873 novel.  The Gilded Age: A Tale of Today was a novel which satirized greed and political corruption in post-Civil War America and it lent the name to the period of US history (circa 1870-circa 1900) immediately prior to the era of progressivism and reform when something was done about political corruption and economic exploitation by the trusts (rail, steel etc).  A gilded age is thus suggestive of a time in which things seem superficially attractive and there is prosperity but the activity conceals the squalor and ugliness beneath.  Whenever there are periods of great social and economic inequality such as that which has evolved in the West over the last four-odd decades (trickle-down economics and its better disguised successors) with aggregated wealth high but disproportionately held by a tiny minority, the term gilded age is often suggested as a descriptor: Gilded age 2.0 in the fashionably modern parlance).  A golden age differs in that it’s associated with a period of peace, prosperity and progress, often expressed by historians in phrases such as the “golden age of the Gupta dynasty” which referred to the Gupta Empire in India which existed between the fourth and sixth centuries.

Gilding the lily: 1959 Chevrolet Impala convertible with after-market accessories (1) rear fender skirts (spats) and (2) “Continental” spare tyre kit.  The “Continental” alluded to was the Ford Motor Company’s original Lincoln Continental (1940–1942 & 1946–1948), first seen in 1939 in the one-off vehicle commissioned for his personal use by Edsel Ford (1893–1943; president of the Ford Motor Company (FoMoCo) 1919–1943).  The Continentals included both features but use of skirts was common whereas the externally mounted spare type housing had become unusual and it became for decades a signature motif of Lincolns and much beloved for just as long by the after-market industry, “Continental kits” appearing on some most improbable cars. 

To refer to the 1959 Chevrolet as a “lily” is a bit of a stretch although the “batwing” rear fins (General Motors (GM) at the time preferred “seagull wings”) and the “cat’s eyes” tail-lamps remain memorable.  The 1959 GM bodies were actually a rush job because the 1958 range was thought staid, bloated and old fashioned compared with the sleek lines of the lines Chrysler had for 1957 ushered in with the slogan “Suddenly it’s 1960s”.  Accordingly (and uniquely), GM’s 1958 bodies were a one-off.  However, whatever one’s opinion of the 1959 Chevrolet, most seem to agree that adding the “Continental” spare-wheel kit and the fender skirts over the rear wheels is gilding the lily but a remarkable number appear in the auction houses so outfitted and almost all the additions are modern re-productions rather than those purchased when the cars were new, or at least young and the photographic record of the era does appear to confirm these accessories were, in period, rare indeed.  It’s thus gilding the lily and an example of the way perceptions of the past can be shaped.

The phrase “gilding the lily” is used to describe the act of adding unnecessary adornment to something already beautiful, the implication being the embellishments are beyond superfluous to the point of detracting from the perfection.  So it's used to mean "unnecessarily to adorn something already beautiful, either in poor taste (a modern expression of which is “bling”) or in an attempt to make something appear more valuable (it has also been used (though less satisfactorily) to mean “inordinately to praise someone”).  It’s of Shakespearian origin although the exact text-string “gilding the lily” appears nowhere in his works, the modern idiom a mis-quote and Lord Salisbury's words were:

Therefore, to be possess'd with double pomp,
To guard a title that was rich before,
To gild refined gold, to paint the lily,
To throw a perfume on the violet,
To smooth the ice, or add another hue
Unto the rainbow, or with taper-light
To seek the beauteous eye of heaven to garnish,
Is wasteful and ridiculous excess.

King John (circa 1594), Act IV, Scene 2 by William Shakespeare (1564–1616).

The phrase “gilded cell” seems first to have been used in the early 1980s in the US to describe the unusually pleasant conditions (compared with mainstream jails) often afforded to celebrities or the rich who have been sentenced to a form of confinement for some offence.  In use, “gilded cell” is applied to those serving sentences “in the community” rather than a jail, often when fitted with that latter-day status symbol, the “ankle bracelet” monitor.  In the US, the companion phrase used of those put in federal government jails less unpleasant than most is the usually derisive “Cub Fed” a play on the brand “Club Med”, a well-known chain of all-inclusive beach resorts.  Although the conditions in “Club Fed” institutions are more lenient, that really is a relative measure and these remain minimum-security prisons (technically usually styled Federal Prison Camps (FPC) and nothing like a luxury resort; while these prisons do have dormitory housing, minimal perimeter security, and a lower staff-to-inmate ratio, they still enforce strict routines and restrictions, along with recreational and educational programs.  Despite the public perception, the the inmate population at Club Fed is said to be quite diverse.

In idiomatic use, the use as “gilded cage” refers to a place (and, by extension, a situation) which is superficially attractive but nevertheless restrictive (a luxurious trap) and appears to have been coined by the writers of the popular song A Bird in a Gilded Cage (1900).  In the slang of apothecaries, there was also “gild the pill”, the history of which is murky but it’s said to refer to the ancient practice of coating bitter tasting pills with a thin layer of metal, the modern version of the phrase being “sugarcoat the pill”.  The phrase “gilded cage” refers to a situation where someone is in a luxurious or privileged environment but feels trapped or restricted, the image being an elaborate golden cage which is exquisitely made but a cage none the less.  Those said to live in gilded cages include (1) celebrities who may enjoy lavish surroundings and many luxuries but exist under the “media spotlight” and lack privacy, (2) those in unhappy marriages with someone rich; while they may have all the material comforts this brings, the relationship may be loveless, sexless and constrained by expectations and limitations imposed by a spouse, (3) those in high paid jobs which they don’t enjoy (or may hate); it may be the long hours, stress or travel but it’s also often the case that expectation of lifestyle (and thus expenses) rise to meet income, thus trapping them in the job, (4) members of royal families who are restricted in what they can say, do or wear and (5) politicians, who may disagree with party platform or a decision of cabinet but are compelled to “toe the line”.  The point about the idiomatic “gilded cage” is that at any time, one can escape the confines but to do so means to sacrifice much; it’s all a question of what one wants from life.

Rimbellisher

Rimbellisher (pronounced rhim-bell-lysh)

A decorative ring attached to the rim of a car's wheel.

1940s: A portmanteau word, the construct being rim +‎ (em)bellish +-er and originally a trademarked brand of the Ace company.  Rim was from the tenth century Middle English rim, rym & rime, from the Old English rima (rim, edge, border, bank, coast), from the Proto-Germanic rimô & rembô (edge, border), from the primitive Indo-European rem- & remə- (to rest, support, be based).   It was cognate with the Saterland Frisian Rim (plank, wooden cross, trellis), the Old Saxon rimi (edge; border; trim) and the Old Norse rimi (raised strip of land, ridge).  Rim generally means “an edge around something, especially when circular” and is used in fields a different as engineering and vulcanology.  The use in political geography is an extension of the idea, something like “PacRim” (Pac(ific) + rim) used to group the nations with coastlines along the Pacific Ocean.  The use in print journalism referred to “a semicircular copydesk”.   The special use in metallurgy described the outer layer of metal in an ingot where the composition was different from that of the centre.  The word rim is an especially frustrating one for golfers to hear because it describes the ball rolling around the rim of the hole but declining to go in.

Embellish dates from the early fourteenth century and was from the Middle English embelisshen from the Anglo-French, from the Middle French embeliss- (stem of embelir), the construct being em- (The form taken by en- before the labial consonants “b” & “p”, as it assimilates place of articulation).  The en- prefix was from the Middle English en- & in-.  In the Old French it existed as en- & an-, from the Latin in- (in, into); it was also from an alteration of in-, from the Middle English in-, from the Old English in- (in, into), from the Proto-Germanic in (in).  Both the Latin and Germanic forms were from the primitive Indo-European en (in, into) and the frequency of use in the Old French is because of the confluence with the Frankish an- intensive prefix, related to the Old English on-.) + bel-, from the Latin bellus (pretty) + -ish.  The –ish suffix was from the Middle English –ish & -isch, from the Old English –isċ, from the Proto-West Germanic -isk, from the Proto-Germanic –iskaz, from the primitive Indo-European -iskos.  It was cognate with the Dutch -s; the German -isch (from which Dutch gained -isch), the Norwegian, Danish, and Swedish -isk & -sk, the Lithuanian –iškas, the Russian -ский (-skij) and the Ancient Greek diminutive suffix -ίσκος (-ískos); a doublet of -esque and -ski.  There exists a welter of synonyms and companion phrases such as decorate, grace, prettify, bedeck, dress up, exaggerate, gild, overstate, festoon, embroider, adorn, spiff up, trim, magnify, deck, color, enrich, elaborate, ornament, beautify, enhance, array & garnish.  Embellish is a verb, embellishing is a noun & verb, embellished is a verb & adjective and embellisher & embellishment are nouns; the noun plural is embellishments.

The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  Rimbellisher is a noun and the noun plural is rimbellishers.  All other forms are non-standard but a wheel to which a rimbellisher has been fitted could be said to be rimbellished (adjective) white the person doing the fitting would be a rimbellisher (noun), the process an act of rimbellishing (verb) and the result a rimbellishment (noun).

Jaguar XK120 with wire wheels (left), with hubcaps (centre) and with hubcaps and rimbellishers (right).

The Jaguar XK range (1948-1961) was available either with solid or wire wheels and while the choice was usually on aesthetic grounds, those using the things in competition sometimes had to assess the trade-offs.  The wire wheels were lighter and provided better cooling of the brakes (especially those connected to the rear wheels which were covered with fender skirts (spats) when the steel wheels were fitted.  In many forms of motor sport that was of course a great advantage but the spokes and the deletion of the skirts came at an aerodynamic cost, the additional drag induced by the combination reducing top speed by a up to 5 mph (8 km/h) and increasing fuel consumption.  It was thus a question of working out what was most valued and in the early days, where regulations permitted, some drivers used wire-wheels at the front and retained the skirts at the rear, attempting to get as much as possible of the best of both worlds (the protrusion of the hubs used on the wire wheels precluded them from fitting behind the skirts).  Jaguar XK owners would never refer to their wheels as “rims” although there may be some who have added “rims” to their modern (post Tata ownership) Jaguars.

Hofit Golan (b 1985) and Lindsay Lohan (b 1986) attending Summer Tour Maserati in Porto Cervo, Sardinia, July 2016.  The Maserati Quattroporte is a 1964 Series I, fitted with steel wheels and rimbellishers.

Among certain classes, it’s now common to refer to wheels as rims, and the flashier the product, the more likely it is to be called a “rim”.  Good taste is of course subjective but as a general rule, the greater the propensity to being described as a rim, the more likely it is to be something in poor taste.  That’s unless it actually is a rim, some wheels being of multi-part construction where the rim is a separate piece (and composed sometimes from a different metal).  In the early days of motoring this was the almost universal method of construction and it persisted in trucks until relatively recently (although still used in heavy, earth-moving equipment and such).  However, those dealing with the high-priced, multi-pieced wheels seem still to call them wheels and use the term “rim” only when discussing the actual rim component.

1937 Rolls-Royce Phantom III four-door cabriolet with coachwork by German house Voll Ruhrbeck, fitted with the standard factory wire wheels (left) and 1937 Rolls-Royce Phantom III fixed head coupé (FHC) with coachwork by Belgium house Vesters et Neirinck, fitted with the “Ace Deluxe” wheel discs which fitted over the standard factory wire wheels (right).  The coupé, fabricated in Brussels, was unusual in pre-war coachbuilding in that there was no B-pillar, the style which would become popular in the US between the 1950s-1970s where in two & four-door form it would be described as a “hardtop”, the nomenclature which would over the years be sometimes confused with the “hard-tops” sometime supplied with convertibles as a more secure alternative to the usual “soft top”.

According to the Oxford English Dictionary (OED), the first known instance of rimbellisher in print was in The Motor (1903-1988) magazine in 1949 although they seem first to have been so-described when on sale in England in 1948.  The rimbellishers were a new product for the Ace Company which in the 1930s had specialized in producing disk-like covers for wire-wheels.  That might seem strange because wire wheels are now much admired but in the 1930s many regarded them as old-fashioned although their light-weight construction meant they were often still used.  What Ace’s aluminium covers provided was the advantage of the lighter weight combined with a shiny, modernist look and they were also easy to keep clean, unlike wire wheels which could demand hours each month to maintain.

The Ace company's publicity material from the 1950s.

In the post-war years the rimbellishers became popular because they were a detail which added a “finished” look.  They were a chromed ring which attached inside the rim of the wheel, providing a contrasting band between the tyre and the centre of the wheel, partially covered usually by a hubcap.  Ace’s original Rimbellishers were secured using a worm-drive type of fastening which ensured the metal of the wheel suffered no damage but as other manufacturers entered the market, the trend became to use a cheaper method of construction using nothing more than multiple sprung tags and with the devices push-fitted into the well of the wheel, some scraping of the paint being inevitable.  Rimbellisher (always with an initial capital) was a registered trademark of the Ace company but the word quickly became generic and was in the 1950s & 1960s used to describe any similar device.  Interestingly, by the mid 1950s, Ace ceased to use “rimbellisher” in its advertising copy and described the two ranges as “wheel discs” and “wheel trims”.

The early versions did nothing more than produce a visual effect but the stylists couldn’t resist the opportunities and some rimbellishers grew to the extent they completely blocked the flow of air through the vents in the wheels and that adversely affected the cooling of the brakes, the use of some of the new generation of full-wheel covers also having this consequence.  The solution was to ensure there was some airflow but to maintain as much as possible of the visual effect, what were often added were little fins and for these to work properly, they needed to catch the airflow so there were left and right-side versions, an idea used to this day in the alloy wheels of some high-price machinery.

1969 Pontiac GTO with standard trim rings (left) and 1969 Pontiac GTO Judge supplied without trim rings (right).

Ace in the early 1950s had distributers in the US and both their rimbellishers and full-wheel covers were offered.  They took advantage of the design which enabled the same basic units to be used, made specific only the substitution of a centre emblem which was varied to suit different manufacturers.  Ace’s market penetration for domestic vehicles didn’t last because Detroit soon began producing their own and within a short time they were elaborate and often garish, something which would last into the twenty-first century.  The Americans soon forgot about the rimbellisher name and started calling them trim-rings and they became a feature of the steel “sports wheels” manufacturers offered on their high-performance ranges in the years before aluminium wheels became mainstream products.  The trim-rings of course had a manufacturing cost and this was built into the price when the wheels were listed as an option.  The cost of production wouldn’t have been great but interestingly, when General Motors’ Pontiac division developed the “Judge” option for its GTO to compete with the low-cost Plymouth Road Runner, the trim-rings were among the items deleted.  However, the Judge package evolved to the point where it became an extra-cost option for the GTO with the missing trim-rings about the only visible concession to economy.

Mercedes-Benz W111s: 1959 220 SE with 8-slot rimbellishers (left), 1967 250 SE with the briefly used solid rimbellishers (centre) and 1971 280 SE 3.5 with the later 12-slot rimbellishers which lacked the elegance of the 8-slots.

Like many companies, Mercedes-Benz used wheel covers as a class identifier.  When the W111 saloons (1959-1968) were released in 1959, the entry-level 220 was fitted with just hubcaps while the up market twin-carburetor 220 S and the fuel-injected 220 SE had rimbellishers (made by the factory, not Ace).  Within a few years, the use of rimbellishers was expanded but by the mid-1960s, the elegant 8-slot units mostly had been replaced with a less-pleasing solid metal pressing (albeit one which provided a gap for brake cooling).  That didn’t last and phased-in between 1967-1968, the company switched from the hubcap / rimbellisher combination to a one-piece wheel cover which included the emulation of a 12-slot rimbellisher.  There were no objections to the adoption of one-piece construction but few found the new design as attractive as the earlier 8-slot.

MG publicity photograph (left) showing MGA and Magnettes, the former fitted with the Cornercroft's Ace Rimbellishers which were a factory option.  The MGA (right) uses a different third-party rimbellisher which was physically bigger and overlapped the edge of the rim to a greater degree.  The factory-option is preferred by most because it better suits the MGA's delicate lines.

1958 Jaguar 3.4 (top) and 1960 MGA Coupé (bottom) with the relevant Ace-Mercury wheel discs.

As well as an after-market product sold through retail outlets and offered as a dealer-fitted accessory, the Ace-Mercury wheel discs were at various times a factory option, MG sometimes listing them for the MGA (1955-1962), ZA-ZB Magnettes (1953-1958) and early versions of both the MGB (1962-1980) & Midget (1961-1979).  For Coventry-based Cornercroft (manufacturer of the Ace Mercury range), the attraction was the (more or less) standardized shape of steel wheels meant it was possible to use the one basic design in a variety of diameters (13, 14 & 15 inch), able to be marketed for use with vehicles from different makers simply by changing the centre-cap to a fitting with the name of the relevant marque (others would also use the same technique).  Cornercraft also offered a (fake) eared spinner in the style of a knockoff nut but these seem never to have been factory options.  The Ace-Mercury was made from bright anodized aluminium and thus was both lightweight and corrosion-resistant but somewhat fragile if subjected to stresses which steel would easily cope.  Additionally, like many “big” wheel-covers, they could be prone to “popping-off” during hard cornering, a phenomenon familiar to students of the car chases in Hollywood movies between the 1960 and 1990s, the film pedants (of which there seem to be many) documenting instances where the “continuity girl” either failed to notice or ignore a wheel-cover inexplicably re-attached, mid-chase.  All of this meant the survival rate of Ace-Mercury is low and many were anyway discarded as subsequent owners preferred the sexier look of wire, alloy or styled-steel wheels.  That makes them now a valuable period-piece and it’s not unusual to see an MG, Riley or Jaguar driven to a show with bare wheels, the Ace-Mercurys put on only for the duration of the exhibition.

Crornercraft advertisement, 1957.

One difference from the usual practice was that unlike most hub-caps or wheel covers which tended to be the same for all four wheels, the Ace-Mercury’s small louvers operated as air scoops when the wheels were in rotation, ducting cooling air through the ventilation holes in the wheel to assist in cooling the brakes.  A set for four was thus supplied in left & right-hand pairs and needed to be installed with the louvers’ open edge “facing the breeze”.  That wasn’t unique but was untypical and the concept was sometimes made more intricate still, such as when the fourth-generation Chevrolet Corvette (C4, 1983-1996) was introduced with alloy wheels of a different width front & rear, meaning than for the cooling ducts to work there were four different wheels.  Another quirk of the Ace-Mercury was that although the visual similarities make them all barely distinguishable except for the diameter, in January 1959, MG changed the design of the MGA’s disc wheels, competing Cornercroft to re-design to the internal structure (the MGA version’s left/right part numbers changing from 97H675/97H676 to BHA4165/BHA4166.  Details like this litter the car restoration business which is why replicating exactly what was done decades ago can be both challenging and expensive.

1966 Jaguar Mark X with factory rimbellishers.

Birdcage

Birdcage (pronounced burd-keyj)

(1) A cage for confining birds (built traditionally with wire or wicker and used also as bird cage & bird-cage).

(2) Something that in form (at any scale) resembles (even vaguely) the construction of a birdcage.

(3) In aviation industry slang, the airspace over an airport and the aircraft there in flight.

(4) An area on a racecourse where horses parade before a race (“paddock” preferred in US use).

(5) In US slang, a used-car lot (now rare).

1480–1490: The construct was bird + cage.  Bird was a pre-900 form, from the Middle English byrd, from the Old English bridd & brid (which in the Northumbrian dialect was “bird”) (young bird, chick; feathered, warm-blooded vertebrate animal of the class Aves).  The Old English bird was an unusual collateral form of bridd and originally meant “young bird, nestling” whereas the typical Old English for bird was fugol, related to the noun fowl, of uncertain origin with no known cognates in any other Germanic language (speculated links to umlaut dismissed by etymologists).  Because birds are a creature doubtlessly noticed and in some form named by people since the early days of human evolution, it’s not surprising it believed variants in Middle English may go back to “an ancient period”.  From the early to mid-fourteenth century, “bird” increasingly supplanted “fowl” as the most common term.

Cage dates from 1175–1225 and was from the Middle English cage (and the earlier forms kage & gage), from the Old French cage (prison; retreat, hideout), from the Latin cavea (hollow place, enclosure for animals, coop, hive, stall, dungeon, spectators' seats in a theatre), the construct being cav(us) (hollow) + -ea, the feminine of -eus (the adjectival suffix); a doublet of cadge and related to jail.  The Latin cavea was the source also of the Italian gabbia (basket for fowls, coop).  The noun (box-like receptacle or enclosure, with open spaces, made of wires, reeds etc) typically described the barred-boxes used for confining domesticated birds or wild beasts was the first form and from circa 1300 was used in English to describe “a cage for prisoners, jail, prison, a cell”.  To “rattle someone's cage” is to upset or anger them, based on the reaction from imprisoned creatures (human & animal) to the noise made by shaking their cages.  The noun bird-cage (also birdcage) was in the late fifteenth century formed to describe a "portable enclosure for birds", as distinct from the static cages which came to be called aviaries.  The verb (to confine in a cage, to shut up or confine) dates from the 1570s and was derived from the noun.  The synonyms for the verb include crate, enclosure, jail, pen, coop up, corral, fold, mew, pinfold, pound, confine, enclose, envelop, hem, immure, impound, imprison, incarcerate, restrain & close-in.  Cage is a noun, verb and (occasional) adjective, caged & caging are verbs (used with object) and constructions include cage-less, cage-like, re-cage; the noun plural is cages.  Birdcage is a noun; the noun plural is birdcages.

The term gilded cage (often heard in the form “trapped in a gilded cage” describes a place (or situation) which superficially is attractive but is in some way constraining; a comfortable but confined situation.  The point of the “gilded cage” is the “effective confinement” is achieved not by the “cage” but by the unwillingness of the confined to relinquish the luxury of their “gilded lifestyle”; it’s thus a self-imposed “imprisonment”, certain comfort valued more than the uncertainties of freedom.  The term is thought to have been coined by the writers of the popular song A Bird in a Gilded Cage (1900).  History (some of it recent) is littered with examples of those “trapped in a gilded cage” and overwhelming they’re well-bred women, compelled for various reasons (dynastic, financial, political etc) to marry someone not of their choice.  A classic example of the adage “for everything you do there’s a price to be paid”, the best documented are the most miserable but the phenomenon is an illustration of the way what ultimately matters is not the situation in which one finds oneself but how one reacts.

Consuelo Vanderbilt (circa 1900), oil on canvas by Paul César Helleu (1859–1927).

Consuelo Vanderbilt (1877-1964) was the most illustrious of the American “dollar princesses” who crossed the Atlantic to marry increasingly impoverished members of the British aristocracy.  Unhappily (and tearfully), aged 18, she became Duchess of Marlborough, diligently and dutifully (for a while) fulfilling the role her father’s money had purchased.  The French painter Paul César Helleu was noted for his portraits of society women of the Belle Époque and, working on commission, he was not above flattery but there’s no doubt he captured the beauty of the slender Consuelo and they may have had had an affair, a diversion not uncommon among dollar princesses chaffing against the bars of their gilded cage.  While in the history texts most in gilded cages are there because they led tortured, unhappy lives, there were some who resolved to “make the best of things” and just try to enjoy the gild: taking the rough with the smooth as it were.  F Scott Fitzgerald (1896–1940) in The Great Gatsby (1925) described Daisy Buchanan as a “golden girl” who had opted for the security of marrying money and was thus consigned to life as a “beautiful little fool” in a “gilded cage of class and gender politics.”  There are worse ways to live and as George Bernard Shaw (GBS; 1856-1950) observed, while money may not buy happiness, surely it is better to be miserable and rich than miserable and poor.   

Lindsay Lohan in The Birdcage, Flemington Racecourse, Melbourne, Victoria, Spring Carnival Derby Day, 2 November, 2019.

The origin of the curious use of “birdcage” to describe the enclosed area where horses are saddled and walked before and after a race lies in an architectural analogy, the space enclosed traditionally by light iron railings, often decorative, painted white and closely spaced.  Spectators standing beyond the perimeter looked at the horses, much as one looks at birds inside an aviary; the metaphor thus “perspectival”.  In truth, the usually the circular or polygonal enclosure didn’t really resemble a large ornamental cage but the construction of the ironwork did recall the sides of a “birdcage” although obviously there was no need exactly to replicate the design, horses being unable, Pegasus-like, to “fly away”.  The term remains in common use in the UK, Australia and New Zealand where it had become part of the “social scene” of race days, the photographs published on society pages or Instagram often taken from “the birdcage”; at some tracks the spectator area has been remodelled for exactly that purpose with appropriate promotional backdrops.  In North America, used of “birdcage” in this context is rare, “paddock” the preferred term.

A similar linguistic adaptation was the “bullpen” (in baseball, an enclosed area for pitchers to practice in or “warm up”), the word possibly borrowed from rodeos where it literally was the (well-fenced) holding area for bulls.  In baseball, “bullpen” became a collective noun for pitchers and functioned as a synecdoche.  From the sport, it spread and came to be used figuratively to describe (1) “a place for someone or something to get prepared for some purpose” and (2) a military prison or its enclosing stockade.  Some decades after bullpen entered the vernacular of the sport, leagues were formed for women’s baseball and although in ranching the term “cowpen” (fenced area for holding cows) was well-known, baseball sensibly decided its nomenclature etymologically was detached from biological sex so assembled female pitchers also warmed-up in a bullpen and despite a recent trend towards gender-neutrality in sporting terminology, “bullpen” survived as fossilized baseball jargon.  Linguistically uncontroversial in the sport was “birdcage mask” which was the protective mask worn by catchers, the “birdcage element” referring to the thick wire structure protecting the face while still permitting adequate vision.

Lindsay Lohan (birdcage scene), Rumors (Official Music Video) from Speak (2004).

The origin of the use in baseball is contested although all seem to agree it came into use very early in the twentieth century.  One explanation is that by then it had become common for late-coming spectators to be cordoned off in a “standing room” area in “foul territory” (to the sides of the field where any ball hit was deemed “out of bounds”) and, noting the laggards were “herded like cattle”, “bullpen” was borrowed from the rodeo.  When those areas were re-purposed as the pitchers warm-up space, the designation stuck and the notion relief pitchers were once viewed “bullish” in temperament is thought one of baseball’s many myths.  An alternative theory is the use was at least influenced by the outfield fences at baseball grounds once often displaying advertisements for Bull Durham tobacco and in front of these relief pitchers would wait to be called into play and the use was thus associated with the billboards but for this there’s no documentary evidence. 

The Berghof, circa 1940.

By definition, a birdcage is of course “something in which one keeps one’s pet bird” but they can be also, certainly in their more elaborate forms, a decorative piece of furniture, a symbol of domesticity in the same way George Orwell (1903-1950) in Keep the Aspidistra Flying (1936) used the Aspidistra plant as an identifier of the middle-class though in fairness to the reputation of the perennial herbaceous plant, their popularity in English houses owed much to them being among the species most tolerant of the sometimes smoky atmosphere in an era when coal and wood burned on open fireplaces was a common form of heating.  They were thus an ideal house plant, being tolerant of neglect and suited to shade while their luxuriant growth meant they were effective oxygenators of air high in CO₂.  

Art Nouveau brass birdcage on conforming tripod stand.  The piece featured a domed tops, lift-out trays, swing perch and two small bird-seed feeders.

Tough, the Aspidistra wasn’t exactly “unkillable” but one really had to try and the plants thus were for generations something of a middle class fixture; it was in this sense Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945), in his (sometimes reliable) memoir Erinnerungen (Memories or Reminiscences) and published in English as Inside the Third Reich (1969) noted the birdcage in Adolf Hitler’s (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) country house, some years before it was enlarged in the sprawling complex centred on the Berghof:  “After Berchtesgaden came the steep mountain road full of potholes, until we arrived at Hitler's small, pleasant wooden house on Obersalzberg.  It had a wide overhanging roof and modest interior: a dining room, a small living room, and three bedrooms. The furniture was bogus old-German peasant style and gave the house a comfortable petit-bourgeois look.  A brass canary cage, a cactus, and a rubber plant intensified this impression. There were swastikas on knickknacks and pillows embroidered by admiring women, combined with, say, a rising sun or a vow of ‘eternal loyalty.’  Hitler commented to me with some embarrassment: ‘I know these are not beautiful things, but many of them are presents.  I shouldn't like to part with them.’”  Speer made no mention of a canary or any other bird sitting in the cage and nor is there a reference in contemporary accounts; that is in keeping with Hitler’s known views on how animals should be treated and while his attitudes to humanity proved reprehensible, those on wildlife were quite enlightened.

Art Deco birdcage.

Although there’s obviously some functional overlap, as well as birdcages, there are birdhouses, coops, aviaries, pigeon lofts.  A birdhouse is a “small house” for birds (and known also as a nest box).  Made usually of wood and mounted somewhere the residents will be protected from ground-dwelling predators, birdhouses are outdoor structures designed not to imprison wild birds but provide them a shelter where they can build nests.  A coop (in this context) is a place where birds are kept but while a birdcage is for a household pet, a coup is for productive (egg-laying and sometimes feathers or meat) birds and are enclosures built outside, partially enclosed (“chicken coops” the best known).  The word aviary has a wide vista and can be anything from a relatively small structure housing two or more birds to vast zoo-like areas in which there may be a mix of captive and wild creatures.  A pigeon loft (known also as a dovecote) is a specialized type of birdhouse, often placed on a building’s roof or other elevated spot in which domestic pigeons are bred and housed, usually for use in the sport of pigeon racing; the element “loft” tends to be used irrespective of the location of the structure.  A synonym was columbarium, from the Latin columbārium, the construct being columb(a) (pigeon) +‎ -ārium (place for) and because the sport became popular among the aristocracy of the Ancien Régime (circa 1500-1789) in France, the construction of columbaria because something of a contest (al la the “size race” in luxury yachts between today’s billionaires) and architects were engaged to design large, elaborate structures, sometimes emulating the style of the owner’s chateau.

C3 Corvette T-Top birdcage.

From its debut in 1953, the Chevrolet Corvette’s body has always been made from non-steel composite materials ranging from simple GRP (glass-reinforced plastic and better known as fiberglass) to materials of increasing complexity so rust has never afflicted the external panels but beneath all those curves and angels is much vulnerable including the frame and “birdcage”, that latter an object of veneration or despair, depending on its condition.  A crucial component in the overall strength and structure of a Corvette, the birdcage was first integrated into the design when the C2 (1962-1967) was released and the same concept was used for the C3 (1968-1982): a reinforced frame surrounding the cabin, the nickname from the overall shape which vaguely recalled a birdcage.  Similar in outline to the “safety cell” for which Mercedes-Benz was in 1952 granted Patent 854157 (rigid passenger cell with front and rear crumple zones), the birdcage consisted of boxed steel channels with pillars running from the base of the windshield (A-pillars), along the rear of the cabin, and down to the frame kick-up behind the seats.  Although not really a complex piece of engineering, the fact that so integral to the car is the structure, for extensive repairs to be performed considerable disassembly is required and the cost of out-sourcing such a task often can exceed the value of the car; economics thus suggest it’s usually advisable to find a car with birdcage in sound condition, repairs often financially viable only if the car is rare (ie with a highly desirable specification or even a celebrity association).  A visual inspection is best left to experts because unless it has just emerged from a comprehensive restoration, all C2 & C3 Corvettes will have at least some light, surface rust but it can take an expert eye to tell the difference between that and rot which demands attention.  Fortunately, the Corvette community is vibrant with publications and on-line guides detailing the features & foibles of the birdcage.

Troubled birdcage: Rusted C3 windshield frame left-lower outer corner (left) and a replacement corner component (1968-1972) @ US$199.00 from Corvette Central.

On both the C2 & C3, there were two variants of the design, one for the coupe (T-top in the C3) and the one for the roadster (the last such C3 made in 1975) but all shared the susceptibility to rust, especially if used in areas with high salt-exposure (coastal regions or places where the stuff was spread on icy roads) and the part most often affected severely was the “Windshield Frame Lower Outer Corners”, replacement sections available and in two different versions for the C3, reflecting the design changes in the post 1973 cars.  However, while the birdcage's most afflicted components, the windshield frame’s outer corners are not unique and the hinge pillars & lock pillars (including the body mount at the bottom) also are notably rust-prone.

C4 Corvette structure diagram from Mobile Web-Cars.

The C4’s (1984-1996) “birdcage” was a bit of a gray area because although routines still is used, materially and structurally it was quite different from the classic template set by the C2 & C3.  What was carried over was welded steel structure surrounding the windshield frame, A-pillars, roof rails, B-pillars and rear window frame which created a defined passenger safety cell distinct from the outer composite body panels so it seems reasonable still to use the term but the C4 did not have a “stand-alone” frame onto which the body was mounted, the “birdcage” being an integral part of the frame.  There were a number of design imperatives which dictated the path chosen for the C4 and it was built with a uniframe in which front and rear frame sections were integrated, thereby providing greater rigidity so no longer was the “birdcage” a kind of bolted-on” internal scaffold but an inherent part of the whole.  The C4 was the last Corvette in which something recognizably “birdcagesque” would appear.

Chevrolet’s technical rendering of the C8’s structure.  In engineering, materials science and computing, much has advanced since 1962.

However, the structural integrity the birdcage in 1962 provided needed still to be achieved but the “brute-force” approach of the C2-C3-C4 era was replaced with more advanced techniques and by the time the mid-engined C8 was released in 2019, the platform structurally would have been unrecognizable to anyone familiar with the earlier generations.  The C8 is built around a core element (the so-called “backbone” or “spine”) which can be visualized as a large aluminum tunnel running down the centre of the car and from this the chassis gains its primary torsional stiffness.  The body panels are almost all non-structural and while there is (as is now universal) a reinforced “safety cell” around the cabin, this is protection of occupants in the event of an “impact incident” (better known as a “crash”).

The Birdcage: The Maserati Tipo 60/61 (chassis #2549, clothed & exposed).

Upon released in late 1962, the structure in the C2 Corvette gained the nickname “birdcage” because of the shape but before that, there was the Maserati “Birdcage”, the Tipo 60/61 (1959-1961) so dubbed because it departed from the typical approach of those building space fames in that instead of relatively few, thick tubes and sections, Maserati used many more but they were slender.  Observers were much taken with the apparent delicacy of the construction and although the engineers assured all the intricate latticework of some 200 chromoly steel tubes (welded often in triangulated form in the points of highest stress) was a design delivering both lightness and rigidity to match the more robust-looking creations.  Those admiring the intricacy were struck more by the resemblance to the thin wires of birdcages.  

Mercedes-Benz 300 SLR (W196S, upper) & 300 SL (W198, lower).

One of the reasons the Maserati’s skeleton looked so delicate was that the space-frame had become associated with Teutonic-flavored construction like that used by Mercedes-Benz for its 300 SL & 300 SLR.  Both shared the same method of construction but despite the names and the visual similarity between the two, there were few common components beyond the nuts, bolts & screws.  The 300 SL (W198; 1954-1963) was a road car while the SLR (W196S; 1955) was a lengthened version of the W196R Formula One Grand Prix car with a sexy body and an enlarged (though somewhat detuned) straight-eight engine; in the sport, it would be the last of the straight-8s.

Scale model of Maserati Typo 60/61 Birdcage by CMC.

The final and most remarkable Maserati birdcage was Tipo 63 Birdcage which featured a mid-mounted 3.0 litre V12.  The Tipo 60 & 61 used front-mounted four-cylinder engines in displacements of 2.0 & 2.9 litres and although there were problems which never wholly were solved (although the reliability did over time improved), the platform enjoyed some success because its forgiving nature lent it excellent handling characteristics and in long-distance events, the lack of power was somewhat offset by the modest fuel consumption and relative low tyre wear, time not spent in the pits as valuable as seconds shaved off lap-times.  Unlike some of its competitors, Maserati did not have the financial resources to “keep up with the times” and develop from scratch a mid-engined sports car so the factory took the approach familiar to many an American engineer and hot-rodder: put in a bigger engine.

1961 Maserati Birdcage Typo 63.  Although installing the V12 didn’t realize the hope-for success, the car will always have a place in the annals of “great moments in exhaust systems”.

Actually, the V12 wasn’t that much bigger than the largest of the four cylinder units used but, with a pedigree beginning with a brief (though unsuccessful) career in the Maserati 250F Grand Prix car, it certainly delivered more power.  Because it was a “relatively” simple matter of blending an existing engine and existing platform, the project quickly was accomplished and Maserati had a mid-engined car on the grid before anyone else and one which could top 305 km/h (190 mph) on long straights.  Unfortunately, placing the big lump of a V12 to the rear upset the Birdcages’s fine balance although one did place fourth in the 1961 Le Mans 24 Hours endurance classic (a place where a 190 mph top speed was unusually valuable), a result which proved to be the marque’s high-water mark in the famous event.