Showing posts sorted by relevance for query Golgotha. Sort by date Show all posts
Showing posts sorted by relevance for query Golgotha. Sort by date Show all posts

Wednesday, September 23, 2020

Golgotha

Golgotha (pronounced gol-guh-thuh or gol-goth-uh)

(1) In the Bible’s canonical Gospels, the hill near Jerusalem on which Jesus Christ was crucified; the ancient (and now alternative) name for Calvary.

(2) A place of suffering, sacrifice or martyrdom.

(3) A place of burial (rare and usually without an initial capital).

(4) In eighteenth & nineteenth century Oxbridge slang, rooms of the heads of the colleges (obsolete).

(5) In UK slang, a hat (an allusion to "the place of the skulls" (obsolete)).

(6) A charnel house (an alternative name for a crypt or ossuary).

(7) In the Eastern Orthodox Church, a representation of Christ crucified.

(8) In slang, a crucifix.

1590–1600: From the Late Latin Golgotha, from the Ancient Greek Γολγοθ (Golgothâ) from the Aramaic (Semitic) גּוּלְגּוּלְתָּא‎ (gulgultā) (literally “place of the skull”) and cognate with the Hebrew gulgōleth (skull).  The hill gained the name because its shape was skull-like.  In Dutch the spelling was originally Golgota which influenced use in some early English translations of the Bible.  The use of Calvary to refer to the mount on which Christ was crucified dates from the late fourteenth century.  It was from the Latin Calvariae, Calvariae & Calvaria (related to calvus (bald)), from the Ancient Greek Kraniou topos, a translation of the Aramaic gulgultā and the Old English used Heafodpannan stow as a loan-translation.  Golgotha is a noun and Golgothan is an adjective; the noun plural is Golgothas.

A cleaning woman on the steps of Munich's Roman Catholic Cathedral, washing a carving of Christ crucified on his Cross, Munich, 1939.  In the Eastern Orthodox Church, these installations are called Golgothas.

Historians agree Golgotha lay immediately beyond Jerusalem's city walls but there’s no certainty about the exact location although the tradition of pilgrimage has since the early Medieval period focused on the southern chapels of the Church of the Holy Sepulchre, probably because the site received the imperial imprimatur within a century of Rome adopting Christianity.  However, speculation has always been encouraged by the apparently contradictory passages in surviving texts which can be interpreted in different ways, thus the suggestions of alternative sites, a matter of some interest to scholars in the field but ignored usually by most of Christendom for whom the Church of the Holy Sepulchre has for so long been a place of veneration.  Beginning in the nineteenth century, there have been archeological excavations but, two-thousand years on, the fragments and remains unearthed have provided only material for speculative interpretation.

The uncertainty about the exact location of Golgotha casts no doubt on the crucifixion of Jesus Christ as a historical event, described in the Book of Mark 15:22-27 (King James Version (KJV (1611)):

And they bring him unto the place Golgotha, which is, being interpreted, The place of a skull.  And they gave him to drink wine mingled with myrrh: but he received it not.  And when they had crucified him, they parted his garments, casting lots upon them, what every man should take.  And it was the third hour, and they crucified him.  And the superscription of his accusation was written over, THE KING OF THE JEWS.  And with him they crucify two thieves; the one on his right hand, and the other on his left.

From what was done of the slopes of Golgotha followed the resurrection, the central event of Christianity and the only vital component for if one accepts the story of the resurrection then Christianity makes sense.  If one’s faith can’t make that leap, Christianity is just another of the competing constructs of moral theology. 

For if we believe that Jesus died and rose again, even so them also which sleep in Jesus will God bring with him.  For this we say unto you by the word of the Lord, that we which are alive and remain unto the coming of the Lord shall not prevent them which are asleep.  For the Lord himself shall descend from heaven with a shout, with the voice of the archangel, and with the trump of God: and the dead in Christ shall rise first:  Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord.  Wherefore comfort one another with these words.  1 Thessalonians 4: 14-18 (King James Version (KJV (1611)).

Lindsay Lohan with crucifixes, 2004, Christian Dior's D-Tricks (the house's Spring/Summer 2004 collection) launch party, Fenix Restaurant, Argyle Hotel, Los Angeles, June 2004.  Although some would insist these are “crosses” rather than “crucifixes”, the slang “Golgotha” is used of both.

Pope John XXIII (1881-1963; pope 1958-1963) spent most of his life as a diplomat, appointed to various posts including as Apostolic Nuncio (ie Ambassador to Turkey) in the Apostolic Delegation to Constantinople.  His most lasting legacy was the Second Vatican Council (Vatican II, 1962-1965, published 1970) and, depending on one’s view, that institution was either a far-sighted achievement or a mistake but either way the Church continues to live with its ripples.  As nuncio, he was ideally suited to diplomatic life of cocktail parties and in Pope John XXIII (2002), Thomas Cahill (1940–2022) recorded: “He was not infrequently seen at diplomatic receptions with a glass of champagne in one hand, sometimes with a cigarette in the other.  At one of these gatherings, he was approached by a woman of considerable décolletage, who wore a large crucifix between her mountainous breasts. 'Quelle Golgothe!' (What a Calvary!) exclaimed the nuncio merrily.  He certainly had a way with words, including when he detected a violation of the Third Commandant.  Cahill recounted that during the redecoration of the Paris nunciature: “…a carpenter who accidentally hit his thumb with a hammer began vigorously to blaspheme.  The nuncio, stern-faced, rose from his desk, walked to the room where the carpenter was working, and demanded: ‘Alors, qu'est-ce que c'est ça? Vous ne pouvez pas dire 'merde' comme tout le monde?” (So, what's this? Can't you say 'shit' like everybody else?).

The crucifix is a symbol of Christendom, and has for two thousand years been one of the most often used motifs in Christian art.  By tradition, the Roman Catholic Church favors the classic image of a cross with Jesus nailed to the structure and it’s often seen among many Protestant denominations whereas others almost exclusively use the cross alone.  Crucifix was from the Middle English crucifix, from the Old French crocefis, from the Latin crucifixus, perfect passive participle of crucifīgō, from crux (wooden frame on which criminals were crucified, especially a cross) + fīgō (to fasten, fix).  The representation of Christ himself on the cross is referred to in English as the corpus, from the Latin corpus (body).

Canada's Golgotha (1918), sculpture in bronze by Francis Derwent Wood RA (1871-1926), photograph by F Hilaire d'Arcis (1845-1935), Royal Academy of Arts Collection, London.

Canada's Golgotha is a sculpture in bronze depicting a Canadian soldier allegedly crucified on a barn door in occupied Belgium, surrounded by the jeering German troops responsible for the atrocity, said to have taken place in 1915.  There was during World War I (1914-1918) an extensive catalogue of atrocity stories including some quite graphical imagery and there were an accepted part of the propaganda efforts on both sides of the conflict but the event carved by Wood was never verified, the contemporary witness statements later discredited.  Immediately after the end of hostilities, the German government objected to the sculpture being put on public display unless documentary evidence could be produced which proved the incident took place.  The Canadian government asserted such evidence was in their hands but declined to furnish copies which provoked further complaints from Berlin and ultimately, the sculpture was withdrawn from the exhibition.  It was kept in storage until 1992 and has since been exhibited though the curators were careful to explain the work was to be treated as an example of Christian art rather than something part of the historic record of war.  That didn’t prevent controversy.

In World War II (1939-1945), controversial too was the event remembered as the Nemmersdorf massacre, a series of atrocities against civilians perpetrated by Red Army soldiers during their advance into East Prussia in October 1944.  The German army swiftly (though temporarily) retook Nemmersdorf and gathered evidence of the violence, including a number of crucified bodies.  The material was passed to Dr Joseph Goebbels (1897-1945; Nazi propaganda minister 1933-1945) and immediately his ministry organized a publicity campaign illustrating this “Bolshevik Barbarism”, intending to inculcate the population with a fanatical desire to resist lest they suffer a similar fate.  One image was of a young girl nailed to a barn door and this was dubbed "Goebbels' Golgotha".  However, there were still memories of the false atrocity stories from the earlier war and the Nazi’s propaganda efforts, increasingly disconnected from reality, had come to be regarded by many as the “fake news” of the day but the civilian population were by now realists and the most notable consequence of the campaign was not a resolve to defend threatened territories but a panicked flood of refugees evacuating the east to trek west.

Flanked by two clerical henchmen and a detail of the Swiss Guard, Francis (b 1936; pope since 2013) sits in front of La Resurrezione during an audience for members of the media, assembled for his first address to the press after being elected pope, Paul VI Audience Hall, Rome, 18 Mar 2013.

La Resurrezione (The Resurrection) is a large sculpture in brass & bronze by Italian painter and sculptor Pericle Fazzini (1913–1987), installed in the Paul VI Audience Hall in which straddles the Vatican and the city of Rome.  The work was commissioned in 1965 by Count Enrico Galeazzi-Lisi (1986-1986), an architect whose long relationship with the Holy See began early in the 1930s with his professional association with Eugenio Pacelli (1876-1958) who between 1930-1939 served as Cardinal Secretary of State and his career flourished when the cardinal was in 1939 elected pope, serving as Pius XII until his death in 1958.  The count during the pontificate was appointed Architect of the Holy Apostolic Palaces and General Manager of the Technical and Economic Services.  He was also one of the remarkable number of amateur diplomats who both before and during World War II (1939-1945) acted as quasi-formal conduits between governments (sometimes factions within governments), Galeazzi operating as an emissary between between the Vatican and the US.  His career in the service of the Holy See ended more happily than his half-brother Riccardo Galeazzi-Lisi (1891–1968), a physician who served as Pius XII's personal physician from 1939 until his abrupt dismissal in 1958, immediately after the pontiff’s death.  The doctor’s conduct after the death created a scandal and the cardinals, assembled for the conclave to elect a successor, demanded his resignation, banning him for life from the sovereign state of Vatican City.

The theme of La Resurrezione is one of the resonant concerns of the high Cold War: the fear of those living under the threat of a nuclear armageddon and it depicts Jesus Christ rising, among twisted knots of dismembered hands and skulls, from a nuclear crater in the Garden of Gethsemane.  The sculpture had a long gestation, the casting in Pistoia’s Michelucci Art Foundry not begun until 1972 with the final details not for almost four years.  It was decided the work should be in honor of the 80th birthday of Paul VI (1897-1978; pope 1963-1978) who on 28 September 1977 unveiled it with a blessing.

Monday, April 13, 2026

Nail

Nail (pronounced neyl)

(1) A slender, typically rod-shaped rigid piece of metal, usually in many lengths and thicknesses, having (usually) one end pointed and the other (usually) enlarged or flattened, and used for hammering into or through wood, concrete or other materials; in the building trades the most common use is to fasten or join together separate pieces (of timber etc).

(2) In anatomy, a thin, horny plate, consisting of modified epidermis, growing on the upper side of the end of a finger or toe; the toughened protective protein-keratin (known as alpha-keratin, also found in hair) at the end of an animal digit, such as fingernail.

(3) In zoology, the basal thickened portion of the anterior wings of certain hemiptera; the basal thickened portion of the anterior wings of certain hemiptera; the terminal horny plate on the beak of ducks, and other allied birds; the claw of a mammal, bird, or reptile.

(4) Historically, in England, a round pedestal on which merchants once carried out their business.

(5) A measure for a length for cloth, equal to 2¼ inches (57 mm) or 1⁄20 of an ell; 1⁄16 of a yard (archaic); it’s assumed the origin lies in the use to mark that length on the end of a yardstick.

(6) To fasten with a nail or nails; to hemmer in a nail.

(7) To enclose or confine (something) by nailing (often followed by up or down).

(8) To make fast or keep firmly in one place or position (also used figuratively).

(8) Perfectly to accomplish something (usually as “nailed it”).

(9) In vulgar slang, of a male, to engage in sexual intercourse with (as “I nailed her” or (according to Urban Dictionary: “I nailed the bitch”).

(10) In law enforcement, to catch a suspect or find them in possession of contraband or engaged in some unlawful conduct (usually as “nailed them”).

(11) In Christianity, as “the nails”, the relics used in the crucifixion, nailing Christ to the cross at Golgotha.

(12) As a the nail (unit), an archaic multiplier equal to one sixteenth of a base unit

(13) In drug slang, a hypodermic needle, used for injecting drugs.

(14) To detect and expose (a lie, scandal, etc)

(15) In slang, to hit someone.

(16) In slang, intently to focus on someone or something.

(17) To stud with or as if with nails.

Pre 900: From the Middle English noun nail & nayl, from the Old English nægl and cognate with the Old Frisian neil, the Old Saxon & Old High German nagal, the Dutch nagel, the German Nagel, the Old Norse nagl (fingernail), all of which were from the unattested Germanic naglaz.  As a derivative, it was akin to the Lithuanian nãgas & nagà (hoof), the Old Prussian nage (foot), the Old Church Slavonic noga (leg, foot), (the Serbo-Croatian nòga, the Czech noha, the Polish noga and the Russian nogá, all of which were probably originally a jocular reference to the foot as “a hoof”), the Old Church Slavonic nogŭtĭ, the Tocharian A maku & Tocharian B mekwa (fingernail, claw), all from the unattested North European Indo-European ənogwh-.  It was further akin to the Old Irish ingen, the Welsh ewin and the Breton ivin, from the unattested Celtic gwhīnā, the Latin unguis (fingernail, claw), from the unattested Italo-Celtic əngwhi-;the Greek ónyx (stem onych-), the Sanskrit ághri- (foot), from the unattested ághli-; the Armenian ełungn from the unattested onogwh-;the Middle English verbs naile, nail & nayle, the Old English næglian and cognate with the Old Saxon neglian, the Old High German negilen, the Old Norse negla, from the unattested Germanic nagl-janan (the Gothic was ganagljan).  The ultimate source was the primitive Indo-European h₃nog- (nail) and the use to describe the metal fastener was from the Middle English naylen, from the Old English næġlan & nægl (fingernail (handnægl)) & negel (tapering metal pin), from the Proto-Germanic naglaz (source also of Old Norse nagl (fingernail) & nagli (metal nail).  Nail is a noun & verb, nailernailless & naillike are adjectives, renail is a verbs, nailing is a noun & vern and nailed is a verb & adjective; the noun plural is nails.

Nail is modified or used as a modifier in literally dozens of examples including finger-nail, toe-nail, nail-brush, nail-file, rusty-nail, garden-nail, nail-fungus, nail-gun & frost-nail.  In idiomatic use, a “nail in one's coffin” is a experience or event that tends to shorten life or hasten the end of something (applied retrospectively (ie post-mortem) it’s usually in the form “final nail in the coffin”.  To be “hard as nails” is either to be “in a robust physical state” or “lacking in human feelings or without sentiment”. To “nail one's colors to the mast” is to declare one’s position on something.  Something described as “better than a poke in the eye with a rusty nail” is a thing, which while not ideal, is not wholly undesirable or without charm.  In financial matters (of payments), to be “on the nail” is to “pay at once”, often in the form “pay on the nail”.  To “nail something down” is to finalize it. To have “nailed it” is “to perfectly have accomplished something” while “nailed her” indicates “having enjoyed sexual intercourse with her”.  The “right” in the phrase “hit the nail right on the head” is a more recent addition, all known instances of use prior to 1700 being “hit the nail on the head” and the elegant original is much preferred.  It’s used to mean “correctly identify something or exactly to arrive at the correct answer”.  Interestingly, the Oxford English Dictionary (OED) notes there is no documentary evidence that the phrase comes from “nail” in the sense of the ting hit by a hammer.

Double-headed nails.

Double-headed nails are used for temporary structures like fencing.  When the shaft is hammered in to the point where the surface of the lower head is flat against the surface of that into which it's being hammered, it leaves the upper head standing proud with just enough of the shaft exposed to allow a claw-hammer to be used to extract nail.  There is a story that as part of an environmental protest against the building or demolition of some structure (the tales vary), activists early one morning went to the temporary fencing around the contested site and hammered in all the double-headed nails.  This is believed to be an urban myth.

The sense of “fingernail” appears to be the original which makes sense give there were fingernails before there were spikes (of metal or any other material) used to build stuff.  The verb nail was from the Old English næglian (to fix or fasten (something) onto (something else) with nails), from the Proto-Germanic ganaglijan (the source also of the Old Saxon neglian, the Old Norse negla, the Old High German negilen, the German nageln and the Gothic ganagljan (to nail), all developed from the root of the nouns.  The colloquial meaning “secure, succeed in catching or getting hold of (someone or something)” was in use by at least the 1760; hence (hence the law enforcement slang meaning “to effect an arrest”, noted since the 1930s.  The meaning “to succeed in hitting” dates from 1886 while the phrase “to nail down” (to fix in place with nails) was first recorded in the 1660s.

Colors: Lindsay Lohan with nails unadorned and painted.

As a noun, “nail-biter” (worrisome or suspenseful event), perhaps surprisingly, seems not to have been in common use until 1999 an it’s applied to things from life-threatening situations to watching close sporting contests.  The idea of nail-biting as a sign of anxiety has been in various forms of literature since the 1570s, the noun nail-biting noted since 1805 and as a noun it was since the mid-nineteenth century applied to those individuals who “habitually or compulsively bit their fingernails” although this seems to have been purely literal rather than something figurative of a mental state.  Now, a “nail-biter” is one who is “habitually worried or apprehensive” and they’re often said to be “chewing the ends of their fingernails” and in political use, a “nail biter” is a criticism somewhat less cutting than “bed-wetter”.  The condition of compulsive nail-biting is the noun onychophagia, the construct being onycho- (a creation of the international scientific vocabulary), reflecting a New Latin combining form, from the Ancient Greek νυξ (ónux) (claw, nail, hoof, talon) + -phagia (eating, biting or swallowing), from the Ancient Greek -φαγία (-phagía).  A related form was -φαγος (-phagos) (eater), the suffix corresponding to φαγεν (phageîn) (to eat), the infinitive of φαγον (éphagon) (I eat), which serves as aorist (essentially a compensator for sense-shifts) (for the defective verb σθίω (esthíō) (I eat).  Bitter-tasting nail-polish is available for those who wish to cure themselves.  Nail-polish as a product dates from the 1880s and was originally literally a clear substance designed to give the finger or toe-nails a varnish like finish upon being buffed.  By 1884, it was being sold as “liquid nail varnish” including shads of black, pink and red although surviving depictions in art suggests men and women in various cultures have for thousands of years been coloring their nails.  Nail-files (small, flat, single-cut file for trimming the fingernails) seem first to have been sold in 1819 and nail-clippers (hand-tool used to trim the fingernails and toenails) in 1890.

Francis (1936-2025; pope 2013-2025) at the funeral of Cardinal George Pell (1941-2023), St Peter’s Basilica, the Vatican, January 2023.

The expression "nail down the lid" is a reference to the lid of a coffin (casket), the implication being one wants to make doubly certain anyone within can't possible "return from the dead".  The noun doornail (also door-nail) (large-headed nail used for studding batten doors for strength or ornament) emerged in the late fourteenth century and was often used of many large, thick nails with a large head, not necessarily those used only in doors.  The figurative expression “dead as a doornail” seems to be as old as the piece of hardware and use soon extended to “dumb as a doornail” and “deaf as a doornail).  The noun hangnail (also hang-nail) is a awful as it sounds and describes a “sore strip of partially detached flesh at the side of a nail of the finger or toe” and appears in seventeenth century texts although few etymologists appear to doubt it’s considerably older and probably a folk etymology and sense alteration of the Middle English agnail & angnail (corn on the foot), from the Old English agnail & angnail.  The origin is likely to have been literally the “painful spike” in the flesh when suffering the condition.  The first element was the Proto-Germanic ang- (compressed, hard, painful), from the primitive Indo-European root angh- (tight, painfully constricted, painful); the second the Old English nægl (spike), one of the influences on “nail”.  The noun hobnail was a “short, thick nail with a large head” which dates from the 1590s, the first element probably identical with hob (rounded peg or pin used as a mark or target in games (noted since the 1580s)) of unknown origin.  Because hobnails were hammered into the leather soles of heavy boots and shoes, “hobnail” came in the seventeenth century to be used of “a rustic person” though it was though less offensive than forms like “yokel”.

Nails and pins

Mug shot “pin” from TeePublic featuring Lindsay Lohan (b 1986, left), Donald Trump (b 1946; POTUS 2017-2021 and since 2025) and Paris Hilton (b 1981, right).  In this context, although the product really is “the badge”, the name was gained from the built-in pin supplied to secure the object to clothing.

As designs, a nail and a pin are similar, obviously differing only in scale but the function of each is different.  A nail’s primary purpose is to function as a structural fastener joining materials (most typically two or more pieces of wood) although there are specialized nails driven into substrate by impact (variously with hammers or nail guns (sometimes called “pin-nailers”, some of which are built to fire “panel pins” (very slender nails) or small “headless nails”).  A nail relies on friction and compression in the surrounding material for its holding strength.  Pins look like scaled-down nails but mostly are used for alignment, retention or pivoting, rather than structural load-bearing.  Because of their more delicate construction, pins often are inserted through specific-purpose, pre-existing holes and in many cases are intended to be temporary and are thus removable.  Visually, both nails and pins have heads (round, flat, clipped etc) and a tapered shank with a tip pointed for pointed tip for penetration (“snub-nosed” nails do exist but are rare) and both are designed slightly to deform the surrounding material when driven.  The most obvious difference is that a pin’s head is very small and some are spherical and made from plastic; they’re designed only to be pushed with finger-pressure rather than being hit with a hammer.  Although the term “pin” is used for some specialized devices used in building and engineering (dowel pin, pivot pin, gudgeon pin (also as wrist pin), roll pin, cotter pin etc), the word is most associated with the tailor’s pin (used mostly in textiles and usually clipped to “pin”).  In jewelry design and textiles there are also variants including the “lapel pin” and the fashion industry’s device of last resort, the “safety pin”.

Pinhead in publicity shot for Hellraiser III: Hell on Earth (1992).

Clive Barker's (b 1952) supernatural horror movie Hellraiser (1987) was based on his novella The Hellbound Heart (1986) and was a surprise hit, making it a franchise which has thus far spawned nine sequels, the most recent released in 2022.  The plot involved a mysterious puzzle box that, when opened, summoned the Cenobites, a group of extra-dimensional, sadomasochistic beings unable to differentiate between pain and pleasure.  It was a good premise for a horror movie but the character who really captured the audience's imagination was the unnamed figure viewers dubbed “Pinhead”.  Although Pinhead appeared in the original film for fewer than ten minutes, the character became the franchise’s focal point and has since dominated the publicity material for subsequent releases.  The popularity of Hellraiser has been maintained and it’s hoped that for the next release the producers will offer the part to Peter Dutton (b 1970; leader of the Liberal Party of Australia 2022-2025).

Peter Dutton captured by a photographer during a happy moment (left), Pinhead with the box able to summon the Cenobites (centre) and and artist's depiction of Mr Dutton in “Pinhead mode” (digitally altered image, right).

No longer burdened with tiresome parliamentary duties since losing his seat in the 2025 Australian general election, Mr Dutton has time for a third career and he should be good at playing an unsmiling character who speaks in a relentless monotone; really, all he need do is act naturally.  It’s suspected also he’ll be good at learning a script given the decades he spent parroting “talking points” and TWS (three word slogans).  While it’s an urban myth Mr Dutton wasn’t offered the part of Lord Voldemort in the Harry Potter movie franchise because he was deemed “too scary”, as Pinhead he’d be “just scary enough”.  While the LNP (Liberal National Party) state government in Queensland recently has appointed Mr Dutton to the board of the QIC (Queensland Investment Corporation, the investment manager of the state’s Aus$135 billion in assets), it’s understood his duties in the Aus$130,000 per annum role will be neither onerous or time-consuming so there’ll be ample opportunity for film-shoots.  Although when in opposition the LNP had decried the ALP (Australian Labor Party) government’s frequent appointment of ALP figures to lucrative sinecures, once in office the LNP continued the “jobs for the boys” tradition.  In the modern era, the two most striking characteristics of right-wing fanatics is (1) a fondness for sitting safely in a bunker while advocating for (and sometimes sending) other people's children to go a fight a war somewhere and (2) after a career spent extolling the virtues of “private enterprise” and criticizing “government waste”, being anxious to get back on the public payroll as soon as their political careers end.  Reassuringly for taxpayers who may have been worried Mr Dutton would not be able to continue to enjoy the lifestyle to which their taxes made him accustomed (“entitled” as he might have put it), it’s believed his director’s fees from QIC will not affect his parliamentary pension (understood to be between Aus$260,000-Aus$280,000 per annum).

The Buick Nailhead

In the 1930s, the straight-8 became a favorite for manufacturers of luxury cars, attracted by its ease of manufacture (components and assembly-line tooling able to be shared with those used to produce a straight-6), the mechanical smoothness inherent in the layout and the ease of maintenance afforded by the long, narrow configuration, ancillary components readily accessible.  However, the limitations were the relatively slow engine speeds imposed by the need to restrict the “crankshaft flex” and the height of the units, a product of the long strokes used to gain the required displacement.  By the 1950s, it was clear the future lay in big-bore, overhead valve V8s although the Mercedes-Benz engineers, unable to forget the glory days of the 1930s when the straight-eight W125s built for the Grand Prix circuits generated power and speed Formula One wouldn’t see until the 1980s, noted the relatively small 2.5 litre (153 cubic inch) displacement limit for 1954 and conjured up a final fling for the layout.  Used in both Formula One as the W196R and in sports car racing as the W196S (better remembered as the 300 SLR) the new 2.5 & 3.0 litre (183 cubic inch) straight-8s, unlike their pre-war predecessors, solved the issue of crankshaft flex (the W196's redline was 9500 compared with the W125's 5800) by locating the power take-off at the centre, adding mechanical fuel-injection and a desmodromic valve train to make the things an exotic cocktail of ancient & modern (on smooth racetracks and in the hands of skilled drivers, the swing axles at the back not the liability they might sound).  Dominant during 1954-1955 in both Formula One & the World Sports Car Championship, they were the last of the straight-8s in top-line competition.

Schematic of Buick “Nailhead” V8, 1953-1966.

Across the Atlantic, the US manufacturers also abandoned their straight-8s.  Buick introduced their overhead valve (OHV) V8 in 1953 but, being much wider than before, the new engine had to be slimmed somewhere to fit between the existing inner-fenders (it would not be until later the platform was widened).  To achieve this, the engineers narrowed the cylinder heads, compelling both a conical (the so-called “pent-roof”) combustion chamber and an arrangement in which the sixteen valves pointed directly upwards on the intake side, something which not only demanded an unusual pushrod & rocker mechanism but also limited the size of the valves.  So, the valves had to be tall and narrow and, with some resemblance to nails, they picked up the nickname “nail valves”, morphing eventually to “nailhead” as a description of the whole engine.  The valve placement and angle certainly benefited the intake side but the geometry compromised the flow of exhaust gases which were compelled by their anyway small ports to make a turn of almost 180o on their way to the tailpipe.  As an indication of the heat-soak generated by that 180turn, the surrounding water passages were very wide. 

It wasn't the last time the head design of a Detroit V8 would be dictated by considerations of width.  When Chrysler in 1964 introduced the 273 cubic inch (4.5 litre) V8 as the first of its LA-Series (that would begat the later 318 (5.2), 340 (5.5) & 360 (5.9) as well as the V10 made famous in the Dodge Viper), the most obvious visual difference from the earlier A-Series V8s was the noticeably smaller cylinder heads.  The A engines used as skew-type valve arrangement in which the exhaust valve was parallel to the bore with the intake valve tipped toward the intake manifold (the classic polyspherical chamber).  For the LA, Chrysler rendered all the valves tipped to the intake manifold and in-line (as viewed from the front), the industry’s standard approach to a wedge combustion chamber.  The reason for the change was that the decision had been taken to offer the compact Valiant with a V8 but it was a car which had been designed to accommodate only a straight-six and the wide-shouldered polyspheric head A-Series V8s simply wouldn’t fit.  So, essentially, wedge-heads were bolted atop the old A-Series block but the “L” in LA stood for light and the engineers wanted something genuinely lighter for the compact (in contemporary US terms) Valiant.  Accordingly, in addition to the reduced size of the heads and intake manifold, a new casting process was developed for the block (the biggest, heaviest part of an engine) which made possible thinner walls.  "Light" is however a relative term and the LA series was notably larger and heavier than Ford's "Windsor" V8 (1961-2000) which was the exemplar of the "thin-wall" technique.  This was confirmed in 1967 when, after taking control of Rootes Group, Chrysler had intended to continue production of the Sunbeam Tiger, by then powered by the Ford Windsor 289 (4.7 litre) but with Chrysler’s 273 LA V8 substituted.  Unfortunately, while 4.7 Ford litres filled it to the brim, 4.4 Chrysler litres overflowed; the Windsor truly was compact.  Allowing it to remain in production until the stock of already purchased Ford engines had been exhausted, Chrysler instead changed the advertising from emphasizing the “…mighty Ford V8 power plant” to the vaguely ambiguous…an American V-8 power train”.

322 cubic inch Nailhead in 1953 Buick Skylark convertible (left) and 425 cubic inch Nailhead in 1966 Buick Riviera GS (with dual-quad MZ package, right).  Note the “Wildcat 465” label on the air cleaner, a reference to the claimed torque rating, something most unusual, most manufacturers using the space to advertise horsepower or cubic inch displacement (CID).

The nailhead wasn’t ideal for producing top-end power but the design did generate prodigious low-end torque, something much appreciated by Buick's previous generation of buyers who much had relished the low-speed responsiveness of the famously smooth straight-8.  However, like everybody else, Buick hadn’t anticipated that as the 1950s unfolded, the industry would engage in a “power race”, something to which the free-breathing Cadillac V8s and Chrysler’s Hemis were well-suited.  For that, the somewhat strangulated Buick Nailhead was not at all suited and to gain power the engineers were compelled to add high-lift, long-duration camshafts which enabled the then magic 300 HP (horsepower) number to be achieved but at the expense of smoothness; tales of Buick buyers (long accustomed to straight-8s that ran so smoothly at idle it could be hard to tell if the things were running) returning to the dealer to fix the “rumpity-rump” became legion.  Still, the Nailhead was robust, relatively light and offered what was then a generous displacement and the ever inventive hot-rod community soon worked out the path to power was to use forced induction and invert the valve use, the supercharger blowing the fuel-air mix into the combustion chambers through the exhaust ports while the exhaust gases were evacuated through the larger intake ports.  Thus, for a while, the Nailhead enjoyed a role as a niche player although the arrival in the mid 1950s of the much more tuneable Chevrolet V8s ended the vogue for all but a few devotees who continued use well into the 1960s.  Buick acknowledged reality and, unusually, instead of following the industry trend and drawing attention to displacement & power, publicized their big torque numbers, confusing some (though probably not Buick buyers who were a loyal crew who sometimes would look down on more expensive Cadillacs because they were "flashy").  The unique appearance of the old Nailhead retains some nostalgic appeal for the modern hot-rod community and they do sometimes appear, a welcome change from the more typical small-block Fords or Chevrolets.

Lockheed SR-71 Blackbird (1964-1999).

Not confused about numbers was the USAF (United States Air Force) which was much interested in power for its aircraft but also had a special need for torque on the tarmac and briefly that meant another quirky niche for the Nailhead.  The Lockheed SR-71 Blackbird (1964-1979) was a long-range, high-altitude supersonic (Mach 3+) aircraft used by the USAF for reconnaissance between 1966-1998 and by the NASA (National Aeronautics & Space Administration) for observation missions as late as 1999.  Something of a high-water mark among the extraordinary advances made in aeronautics and materials construction during the Cold War, the SR-71 used Pratt & Whitney J58 turbojet engines which featured an innovative, secondary air-injection system for the afterburner, permitting additional thrust at high speed.  The SR-71 still holds a number of altitude and speed records and Lockheed’s SR-72, a hypersonic unmanned aerial vehicle (UAV) is said to be in an “advanced stage” of design and construction although whether any test flights will be conducted before 2030 remains unclear, the challenges of sustaining in the atmosphere velocities as high as Mach 6+ onerous given the heat generated and stresses imposed by the the fluid dynamics of air at high speed.

Drawing from user manual for AG330 starter cart (left) and AG330 starter cart with dual Buick Nailhead V8s (right).

At the time, the SR-71 was the most exotic aircraft on the planet but during testing and early in its career, just for the engines to start it relied on a pair of even then technologically bankrupt Buick Nailhead V8s.  These were mounted in a towed cart and were effectively the turbojet’s starter motor, a concept developed in the 1930s as a work-around for the technology gap which emerged as the V12 aero-engines became too big to start by hand but lacked on-board electrical systems to trigger ignition.  The two Nailheads were connected by gears to a single, vertical drive shaft which ran the jet up to the critical speed at which ignition became self-sustaining.  The engineers chose the Nailheads after comparing them to other large displacement V8s, the aspect of the Buicks which most appealed being the torque generated at relatively low engine speeds, a characteristic ideal for driving an output shaft, torque best visualized as a "twisting" force.  After the Nailhead was retired in 1966, later carts used Chevrolet big-block V8s but in 1969 a pneumatic start system was added to the infrastructure of the USAF bases from which the SR-71s most frequently operated, the sixteen-cylinder carts relegated to secondary fields the planes rarely used.

Monday, March 20, 2023

Ossuary

Ossuary (pronounced osh-oo-er-ee or os-oo-er-ee)

(1) A structure dedicated to the storage of the bones of the dead.

(2) Any container for the burial of human bones, such as an urn.

(3) By extension, a place for discarded or broken items or (figuratively), of abandoned concepts or ideas. 

1650-1660: From the Late Latin ossuārium (charnel house; receptacle for bones of the dead), a neuter of ossuārius (of or for bones) and variant of ossārium, the construct being oss- (stem of os) (bone (plural ossua)) + -ārius (the adjectival suffix giving the sense “of or related to”).  The Latin os was from the primitive Indo-European ost (bone).  The model for the word was mortuarium, and the alternative form remains ossuariumOssuary and ossuarium are nouns and ossuarius is an adjective; the noun plural is ossuaries.

The Sedlec Ossuary at Starosedlecká, Kutná Hora, in the Bohemian region of the Czech Republic lies about 42 miles (70 km) east of the capital, Prague.  A medieval town, much of the baroque architecture was build between the thirteenth and sixteenth centuries from the wealth generated by the adjacent silver mine.  On architectural grounds alone Kutná Hora is worthy of its status as a UNESCO World Heritage site but, in the suburb of Sedlec is the Church of All Saints which probably deserves a separate listing.

Sedlec’s Church of All Saints is better known as the Sedlec Ossuary, the church of bones, said to contain the bones of between some forty and sixty-thousand dead.  Its origins were a mission by the abbot of the Sedlec Cistercian Monastery, sent by the King of Bohemia to Jerusalem.  The abbot returned with an urn of soil from the Golgotha, the place where Jesus Christ was said to be crucified and this earth he spread around the grounds of the church’s cemetery.  As word of the "Holy Soil" became known, from all over Bohemia, people began to ask to be buried at Sedlec’s Church of All Saints.

Such was the demand that by the fifteenth century, skeletal remains had to be exhumed from the cemetery, the town needing to expand and more space needed for the more recently dead.  In what may sound a little shocking (but must have been judged theologically sound), the bones lay stacked in the basement of the church until 1870 when František Rint (1835-circa 1895), a woodcarver and carpenter from the small town of Česká Skalice in northern Bohemia, was employed by the House of Schwarzenberg (the ruling family of the town) to organize and arrange them.  The results of his efforts were spectacular, the carpenter creating intricate sculptures, including several chandeliers and a copy of the Schwarzenberg coat of arms.  The most spectacular of the chandeliers is also technically interesting for anatomists, said to include at least one of every bone in the human body

The elaborate constructions may seem macabre but each is accompanied by religious displays arranged from bone, conveying to visitors the message that the chapel remains a respectful place of worship and indeed, regular masses continue to be held in both the upper and lower chapel.  Musical performances however are staged only within the church proper so what might prove the interesting acoustic properties of all those bones remains unexplored.  The site, opened to tourists early in the century proved popular, almost a quarter-million visiting in the last year before the pandemic and it quickly became the biggest attraction in central Bohemia.  The financial blessing has proved also a curse however, local residents complaining the volume of visitors often overwhelms the operations of what remains a functioning Roman Catholic church and cemetery.  It’s said there are tourists who treat the place as just another theme-park.

Still, such is the importance of the ossuary to the local economy, that the ancient site is often renovated, including some attention to the condition of the bones which sounds strange but it seems human bone is subject to discoloration over time and restoring them to a more brilliant white is thought greatly to enhance the tourists' visual experience.  Even if one’s taste doesn’t extend to the macabre, Kutná Hora remains one of the medieval treasures of Bohemia and within the same Cistercian complex as the ossuary is the Sedlec Cathedral, the Church of the Assumption of Our Lady and Saint John the Baptist.  Built between 1290-1320, the cathedral is one of the oldest remaining in the Baroque Gothic style and also enjoys a place on the UNESCO World Heritage list and a short distance from there is a truly secular attraction, the Kutná Hora's Chocolate Museum, a tiny homage to chocolate with exhibits dating from the early nineteenth century.  There are chocolate tasting sessions and private candlelit dinners can be booked.

The ossuary vibe: Lindsay Lohan wearing Alexander McQueen skull scarf, 2012.

So entrenched in fashion has the skull been for hundreds of years that not even its use (as the “Death’s Head”) by the Nazi SS (the Schutzstaffel (security squad), 1925-1945, also stylized as ᛋᛋ with Armanen runes) tainted it sufficiently to discourage its appearance on clothes, accessories and jewelry.  Seasonally, the popularity ebbs and flows but skulls are seemingly always at least a niche and the appeal is also cross-cultural, the skull variously a good luck charm and a symbol employed to ward of disease and evil spirits.  In the English-speaking world, the widespread use of the skull symbol seems to have begun in the Elizabethan period (1558-1603) although most acknowledge the practice began in Bohemia and came to England via sea-farers and traders, the original items being skull rings, either carved from a human jawbone or rendered from metal.  An especially popular form was the skull ring with the jawbone disappearing to create the illusion of a finger piercing the wearer's mouth, still a widely used pattern today.  One curious aspect of the appeal is that Satanists and Christians alike have both embraced the iconography, skulls a likely to be seen among Devil worshipers as they are to be in the mix with images of saints and crucifixes.  Of late though, while they haven’t disowned the medieval art, Christianity seems now less keen on skulls.  The Satanists remain committed.