Hobnail

Hobnail (pronouned hob-neyl)

(1) A large-headed nail for protecting the soles of heavy boots and shoes, thus, when used as a modifier: hobnail boots.

(2) A small allover pattern consisting of small tufts, as on fabrics, or of small studs, as on glass.

(3) A rustic (obsolete).

(4) In medicine, a Slang term used by clinicians to describe the appearance of the organ in those suffering cirrhosis of the liver.

(5) In medicine, cellular morphology pathognomonic for clear cell adenocarcinoma of the ovary.

1585-1595: The construct is hob + nail.  Hob is related to hub, but the ultimate origin of both words is so obscure few etymologists have attempt to disentangle.  Nail in the sense of that which grows from the ends of digits is pre 900 from the Middle English nail & nayl, from the Old English negel (tapering metal) & nægl (fingernail (handnægl)).  It was cognate with the Old Frisian neil, the Old Saxon & Old High German nagal, the Dutch nagel & German Nagel and the Old Norse nagl (fingernail), all from the unattested Germanic naglaz; akin as derivative to the Lithuanian nãgas & nagà (hoof), the Old Prussian nage (foot) and the Old Church Slavonic noga (leg, foot). Nail in the sense used in "hobnail" is from the Middle English naylen, from the Old English næġlan, again, words with long, tortured histories.  The original sense was of the “short, thick nail with a large head", the construction using the element hob probably as an identification with the "rounded peg or pin used as a mark or target in games", that form of unknown origin and dating from the 1580s.  Because they were used to make heavy boots and shoes, the word was used figuratively from the seventeenth century for a "rustic person or simpleton", John Milton (1608–1674) in Colasterion (1645) writing “…the word Politician is not us'd to his maw, and therupon he plays the most notorious hobbihors, jesting and frisking in the luxury of his non-sense with such poor fetches to cog a laughter from us, that no antic hobnaile at a Morris, but is more hansomly facetious”.

From fireplace to fashion

Lindsay Lohan wearing hobnailed fabric.

Dating from 1505–1515, hub was a variant of obsolete hub hob (in a fireplace) and related to the obsolete hubbe from the 1510s and an etymology unrelated to the thirteenth century use as an affectionate diminutive for Robert or Robin.  Hob as a word to describe the side (the flat projection or iron shelf at the side of a fire grate, where things are put to be kept warm) of a fireplace was common by 1670s and in some English-speaking countries is used still to refer to the top cooking surface on a cooker or stove (the cooktop typically comprising several (often four) cooking elements also known as “rings” or elements”).  Etymologists are divided on whether the use of hob to describe a "clown, prankster" is a equating of such people with the yokels to whom it had long been applied or, a shortening for hobgoblin (the phrase “to play (the) hob" is documented in 1834 as meaning “to make mischief").  In quoits, a hob is a rounded peg used as a target.  In machine tools, it’s a kind of cutting tool, used to cut the teeth of a gear and can be used to refer to the hub or a wheel.  In zoology, a hub is a male ferret.  The long established meanings (1) the thin, horny plate at the ends of fingers and toes on humans and some other animals and (2) a spike-shaped metal fastener used for joining wood or similar materials ran in parallel.  It also one referred to a round pedestal on which merchants conducted business and a (now archaic) English unit of (usually cloth) measure length equivalent to 1 twentieth of an ell or one sixteenth of a yard (2 ¼ inches (57.15mm)).  The sense "fingernail" seems to have been the original.

The best known use of "hobnail" is in footwear.  The hobnailed boot (left) has been used since antiquity, both by workmen and the military and for the same reasons: durability and traction.  In the army of Ancient Rome, they were called caligae and remained common in military formations until well into the twentieth century, supplanted only as techniques with rubber and synthetic materials improved.  Before the development of crampons, they were widely used in mountaineering.  In Scotland, they're known also as "tackety boots").  Hobnail glassware (right) is a mass-produced novelty item and not part of the glass-blower's technique; it has no traditions.

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 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.

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 ὄνυξ (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 φαγεῖν (phageîn) (to eat), the infinitive of ἔφαγον (éphagon) (I eat), which serves as aorist (essentially a compensator for sense-shifts) (for the defective verb ἐσθίω (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.

Pope Francis (b 1936; pope since 2013) 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”.

Colors: Lindsay Lohan with nails unadorned and painted.

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.  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 again 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 race 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 Sports Car Championship, they were the last of the straight-8s.

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 fenders; it would not be until later the platform was widened.  To achieve this, the engineers narrowed the cylinder heads, compelling both an 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 through their anyway small ports to make a turn of almost 180^o on their way to the tailpipe.

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.  Still, "light" is 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 ultimate power but it did lend itself to prodigious low-end torque, something much appreciated by Buicks previous generation of buyers who has enjoyed 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 and Chrysler’s Hemis were well-suited.  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 horsepower number to be achieved but at the expense of smoothness and tales of Buick buyers returning to the dealer to fix the “rumpity-rump” idle 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 reverse the valve use, the supercharger blowing the fuel-air mix through the exhaust ports and the exhaust gases through the larger intake ports.  Thus the for a while Nailhead enjoyed a career 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 cubic inch displacement and horsepower, publicized their torque output, confusing some (though probably not Buick buyers who were a loyal crew).  The unique appearance of the old nail still retains some 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 was the United States Air Force (USAF) which was much interested in power for its aircraft but also had a special need for torque on the tarmac and that briefly meant another small 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 National Aeronautics & Space Administration (NASA) 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 1950s & 1960s, the SR-71 used the Pratt & Whitney J58 turbojet engine which used an innovative, secondary air-injection system to 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.

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

At the time, the SR-71 was the most exotic aircraft on the planet but during testing and early in its career, to fly, 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 aero-engines became too big to start by hand but no on-board electrical systems were available 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.  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 bases the planes rarely used.

Viceroy

Viceroy (pronounced vahys-roi)

(1) A person appointed to rule a country or province as the deputy of the sovereign and exercising the powers of the sovereign.

(2) A brightly marked American butterfly (Limenitis archippus), closely mimicking the monarch butterfly in coloration but slightly smaller, hence the analogy with a sovereign and their representative.

1515–1525: From the Middle French, the construct being vice- + roy.  Vice was from the Old French vice (deputy), from the Latin vice (in place of), an ablative form of vicis.  In English (and other languages) the vice prefix was used to indicate an office in a subordinate position including air vice-marshal, vice-admiral, vice-captain, vice-chair, vice-chairman, vice-chancellor, vice-consul, vice-director, vice president, vice-president, vice-regent & vice-principal.  Roy was from the Middle English roy & roye, from the Old French roi (king), from the Latin rēgem, accusative of rēx (king) and related to regere (to keep straight, guide, lead, rule), from the primitive Indo-European root reg- (move in a straight line) with derivatives meaning “to direct in a straight line" thus the notion of "to lead, rule".  It was a doublet of loa, rajah, Rex, rex and rich.  The noun plurals was roys.  The wife of a viceroy was a vicereine, the word also used for female viceroys of whom there have been a few.  The American butterfly was named in 1881.  Viceroy and viceroy are nouns and viceregal is a noun and adjective; the noun plural is viceroys.

The noun viceregent (the official administrative deputy of a regent) attracted the attention of critics because it was so frequently confused with vicegerent (the official administrative deputy of a ruler, head of state, or church official).  Despite the perceived grandiosity of vicegerent, gained from association with offices such as the Pope as Vicar of Christ on Earth or the regent of a sovereign state, it’s merely generally descriptive of one person substituting for another and can be as well-applied to the shop assistant minding the store while the grocer has lunch.  The area of regency can be a linguistic tangle because a regent is a particular kind of viceregent and there was a time when viceregent was used instead of the correct vicegerent and was sometimes used pleonastically for regent.  The grammar Nazis never liked this and attributed the frequency of occurrence to the preference of viceregal rather than vicereoyal as the adjective of viceroy.

Under the Raj, under the pith helmets: King George V, Emperor of India with Lord Hardinge, Viceroy of India, Government House, Calcutta 1911.

In the rather haphazard way British rule in India evolved, the office of Governor-General of India was created by the Charter Act of 1833 and in an early example of the public-private partnership (PPP), the post was essentially administrative and was both appointed by and reported to the directors of the East India Company, functioning also as an informal conduit between the company and government.  The system lasted until 1858 when, in reaction to the Indian Mutiny (1857), the parliament passed the Government of India Act, creating the role of Viceroy (wholly assuming the office of Governor General), the new office having both executive and diplomatic authority and reporting (through the newly-established India Office) to the British Crown.  The viceroy was appointed by the sovereign on the advice of the parliament (ie the prime-minister) and it is this structure which is remembered as the British Raj (from the Hindi rāj (state, nation, empire, realm etc), the rule of the British Crown on the subcontinent although the maps of empire which covered the whole region as pink to indicate control were at least a bit misleading.

Viceroy butterfly.

The best-known viceroys were probably those who headed the executive government of India under the Raj although other less conspicuous appointments were also made including to Ireland when the whole island was a constituent part of United Kingdom of Great Britain and Ireland (1801-1922).  As a general principle (and there were exceptions), in British constitutional law, the Dominions and colonies that were held in the name of the parliament of Great Britain were administered by Governors-General while colonies held in the name of the British Crown were governed by viceroys.  Between 1858-1947, there were twenty viceroys of India including some notable names in British politics such as Lord Lansdowne (1888–1894) who introduced the Indian Councils Act and raised the age of consent for girls from ten to twelve, Lord Curzon (1899–1905) who introduced the Indian Universities Act and presided over the partition of Bengal, Lord Hardinge (1910-1916) who was in office during the Mesopotamian Campaign, Lord Irwin (1926–1931) (better known as Lord Halifax) who summoned the first round table conference and Lord Mountbatten (1947), the last Viceroy of India who, reflecting the change in constitutional status upon independence, was between 1947-1948 briefly the new nation's first Governor-General.  He was also the second-last, the office abolished in 1950 when the Republic of India was proclaimed.

Lindsay Lohan’s NFT for Lullaby with viceroy butterflies.

In 2021, it was announced Lindsay Lohan's non-fungible token (NFT) electronic music single Lullaby had sold for 1,000,001 in Tron (TRX) cryptocurrency (US$85,484.09).   Lullaby featured a vocal track over a beat produced by Manuel Riva and was the first NFT by a woman to be sold on #fansForever, a marketplace created for dealing in celebrity NFTs.  The graphics of the NFT Tron had a viceroy butterfly flapping its wings in unison with Ms Lohan’s eyelids to the beat of Lullaby.  Because of the underlying robustness, the blockchain and the NFT concept has an assured future for many purposes but to date the performance of celebrity items as stores of value has been patchy.

1936 Rolls-Royce Phantom III (7.7 litre (447 cubic inch) V12; chassis 3AZ47, engine Z24B, body 8594 in style 6419) by Hooper, built for the Marquess of Linlithgow (1887-1952) who served as Viceroy of India (1936-1944), seen in its original configuration with a chauffeur (left) and as re-bodied during 1952-1953 (right).  In the centre is a British plumed helmet, circa 1920, this one with a skull in gilt metal, mounted with unusually elaborate gilt ornamentation including helmet-plate (itself mounted with a white metal hobnail star bearing gilt Royal Arms), ornate gilt chins-scales with claw ends and an untypically extravagant white swan's feather plume, notably longer than regulation length.  It was used by the Honourable Corps of Gentlemen-at Arms, a body formed in 1539 and staffed by former army officers as the “nearest guard” to the sovereign. The helmet is based on the “Albert” pattern for Household Cavalry, a style in use for some 150 years.

Viceroys of India were always rather exalted creatures, their status reflecting India’s allure as the glittering prize of the empire and upon recall to London, were usually raised to (or in) the peerage as marquesses while a retiring prime-minister might expect at most an earldom, one notch down.  Their special needs (and some were quite needy) in office also had to be accommodated, an example of which is Lord Linlithgow’s 1937 Rolls-Royce Phantom III, built with a capacity for seven passengers (although no luggage which was always carried separately).  The coachwork by Hooper was most unusual, the engine’s side-panels being 1½ inches taller than standard, a variation required to somewhat balance the very tall passenger compartment, the dimensions of which were dictated by the viceroy’s height of 6’ 7” (2.0 m), the plumed hats of his role elongating things further.  Such high-roof-lines were not uncommon on state limousines and have been seen on Mercedes-Benz built for the Holy See and the Daimlers & Rolls-Royces in the British Royal Mews.  Delivered in dark blue with orange picking out lines and coronets on the rear doors, the interior was trimmed in dark blue leather with two sets of loose beige covers, the woodwork in solid figured walnut rather than veneer.  Signed-off 21 July 1936 and shipped to Bombay (now Mubai) on the SS Bhutan on 24 July, Hooper’s invoice to the India Office listed the price of the chassis at Stg£1405, the coachwork at Stg£725 and a total cost of Stg£2130.

After the Raj, the car passed into private hands and in 1952 was returned to the Hooper works in Westminster for re-modeling, the most obvious aspects of which were the lowering of the roof-line and a re-finishing in grey.  The high cowl (scuttle) and hood (bonnet) line were however retained so the re-configuration actually replaced one discontinuity with another but the changes certainly made it an interesting period piece and its now one of three Phantom IIIs in the collection assembled by Pranlal Bhogilal (1937-2011), displayed in his Auto World Vintage Car Museum in Kathwada, on the outskirts of Ahmedabad.

Concerto

Concerto (pronounced kuhn-cher-toh or kawn-cher-taw (Italian))

(1) A composition for an orchestra and one or more principal instruments (ie soloists), usually in symphonic form. The classical concerto usually consisted of several movements, and often a cadenza.

(2) An alternative word for ripieno.

1519: From the Italian concertare (concert), the construct being con- + certō.  The Latin prefix con- is from the preposition cum (with) and certō is from certus (resolved, certain) +‎ -ō; the present infinitive certāre, the perfect active certāvī, the supine certātum.  Concerto grosso (literally “big concert”; plural concerti grossi) is the more familiar type of orchestral music of the Baroque era (circa 1600–1750), characterized by contrast between a small group of soloists (soli, concertino, principale) and the full orchestra (tutti, concerto grosso, ripieno). The titles of early concerti grossi often reflected their performance locales, as in concerto da chiesa (church concerto) and concerto da camera (chamber concerto, played at court), titles also applied to works not strictly concerti grossi.  Ultimately the concerto grosso flourished as secular court music.  Concerto is a noun; the noun plurals are  concertos & concerti.

The origin of the Italian word concerto is unclear although most musicologists hold it’s meant to imply a work where disputes and fights are ultimately resolved by working together although the meaning did change over the centuries as musical traditions evolved.  Concerto was first used 1519 in Rome to refer to an ensemble of voices getting together with music although the first publication with this name for works for voices and instruments is by the Venetian composer Andrea Gabrieli (circa 1532-1585) and his nephew Giovanni Gabrieli (circa 1555-1612), a collection of concerti, dated 1587. Up to the first half of the seventeenth century, the term concerti was used in Italy for vocal works accompanied by instruments, many publications appearing with this title although initially, the Italian word sinfonia (from the Latin symphōnia, from the Ancient Greek συμφωνία (sumphōnía) was also used.  It was during the Baroque era the concerto evolved into a recognizably modern form.

Deep Purple and the Royal Philharmonic Orchestra under Malcolm Arnold: Concerto for Group and Orchestra, 24 September 1969.

Although pop groups playing with orchestras is now not rare, there’s never been anything quite like Jon Lord’s (1941-2012) Concerto for Group and Orchestra, performed on 24 September 1969 at the Royal Albert Hall by Deep Purple and the Royal Philharmonic Orchestra under Malcolm Arnold (1921-2006).  The work was a true concerto in three movements: Energico, Lento and Con Fuoco; an attempt to fuse the sound of an orchestra with that of a heavy metal band.  It proved a modest commercial success and in the twenty-first century there has been a revival of interest with many performances.

Cover of the original Tetragrammaton pressing of Deep Purple's second album The Book of Taliesyn (1968).

Although something very different from what most rock bands were doing in 1969, Lord's concerto really was a synthesis of some of the material two of the bands previous three albums, both of which contained threads in the tradition of the German classical music in which Lord Had been trained.  Recorded during their early quasi-psychedelic period, the title of their second album had been borrowed from The Book of Taliesin (Llyfr Taliesin in the Welsh), a fourteenth century manuscript written in Middle Welsh which contains some five dozen poems, some pre-dating the tenth century while the third owed some debt to the seventeenth & eighteenth.  The Concerto for Group and Orchestra was very much in the vein of Deep Purple's early output but what was at the time unexpected was that less than a year after the performance, the band released the album In Rock, a notable change in musical direction and one decidedly not orchestral.  Prior to In Rock, Deep Purple's output had been eclectic with no discernible thematic pattern, a mix of influences from pop, blues and psychedelia, delivered with the odd classical flourish so suddenly to produce one of the defining albums of heavy metal was unexpected in a way the Concerto was not.  For the band however, it was the performance at the Royal Albert Hall which proved the anomaly, In Rock providing the template which would sustain them, through personnel changes and the odd hiatus, well into the twenty-first century.

Cover of the original Harvest pressing of Deep Purple's fourth album: Concerto for Group and Orchestra (1969).

Lord wasn’t discouraged by the restrained enthusiasm of the music press, describing critics as “…an archaic, if necessary, appendage to the music business” and pursued variations of the concept for the rest of his life.  The most noted was Windows (1974), a collaboration with German conductor and composer Eberhard Schoener (b 1938) which included Continuo on B-A-C-H (B-A-C-B# in musical notation), a piece which built on the unfinished triple fugue that closed Johann Sebastian Bach's (1685–1750) Art of the Fugue, written in the last years of his life.  Although not included with the original release on vinyl, the band did perform some of their other material just before the concerto began including a song which would appear on In Rock.  That was Child in Time, a long and rather dramatic piece with some loud screaming which must have been quite unlike anything which some of that night's older critics might previously have enjoyed and perhaps it affected them.  Unlike pop music’s fusions with jazz, attempts to synthesize with classical traditions never attracted the same interest or approbation, the consensus seemingly that while a cobbler could create a hobnail boot for a ballerina, most found it hard to imagine why.

Jon Lord with Mercedes-Benz 300 SL (W198, 1954-1963) Gullwing (1954-1957), photographed by Fin Costello, Los Angeles, 1975.

Plenty of folk did however see why and thirty years on, on 25 & 26 September 1999 the piece was again performed live at the Royal Albert Hall as the culmination of a concert with additional material.  The original score had been lost, compelling Lord and two collaborators to recreate by listening to recordings, synchronised with the video, the process said to be "challenging" even for professional musicians, one of whom was the piece’s composer.  Released on CD and DVD, interest was stimulated worldwide and Deep Purple embarked on a tour, performing the concerto in Japan, Europe and South America, in each location teaming with local orchestras.  Between then and his death in 2012, Lord was involved with almost a dozen performances around the world including one staged in Dublin with the RTÉ Concerto Orchestra, marking the 40^th anniversary.  Now in the public domain, musicians continue to explore the Concerto for Group and Orchestra, a piece which in 1969 most critics had dismissed as little more than a curiosity.