Montage

Montage (pronounced mon-tahzh (mawn-tazh in French))

(1) The technique of combining in a single composition, pictorial elements from various sources, as parts of different photographs or fragments of printing, either to give the illusion that the elements belonged together originally or to allow each element to retain its separate identity as a means of adding interest or meaning to the composition; the composition itself.

(2) By analogy, the creation of a thing or concept by combining a number of related elements; any combination of disparate elements that forms or is felt to form a unified whole.

(3) In photography, as photomontage, a juxtaposition or partial superimposition of several shots to form a single image.

(4) In film & television etc, a technique of editing used to present an idea or set of interconnected ideas.

1929: A borrowing from the French montage (assembly, set-up), the construct being mont(er) (to mount; to put up) + -age.  Monter was from the Vulgar Latin montāre, the present active infinitive of monto (to climb, mount, go up), from mōns & montem (mountain), from the primitive Indo-European men- (mountain).  The suffix -age was from the Middle English -age, from the Old French -age, from the Latin -āticum.  Cognates include the French -age, the Italian -aggio, the Portuguese -agem, the Spanish -aje & Romanian -aj.  It was used to form nouns (1) with the sense of collection or appurtenance, (2) indicating a process, action, or a result, (3) of a state or relationship, (4) indicating a place, (5) indicating a charge, toll, or fee, (6) indicating a rate & (7) of a unit of measure.  The French suffix -age was from the Middle & Old French -age, from the Latin -āticum, (greatly) extended from words like rivage and voyage.  It was used usually to form nouns with the sense of (1) "action or result of Xing" or (more rarely), "action related to X" or (2) "state of being (a or an) X".  A less common use was the formation of collective nouns.  Historically, there were many applications (family relationships, locations etc) but use has long tended to be restricted to the sense of "action of Xing".  Many older terms now have little to no connection with their most common modern uses, something particularly notable of those descended from actual Latin words (fromage, voyage etc).

A montage of Lindsay Lohan as Andy Warhol (1928–1987) might have rendered.

Montage, although now most associated with photography, painting and other static installations, was originally a term in cinematography, first attested in 1929.  The use was extended in 1931 (as photomontage) to the use of photographs or photographic negatives to make art or illustrations.  The technique can, in many fields, be used to add a veneer of intellectual gloss to what is really an elaborated form of plagiarism.  More helpfully, photomontages have been a vital aspect of the techniques of producing large scale imagery and the first were literally assembled on large tables by technicians armed with scissors, magnifying glasses and adhesive tape, the most prolific of the early adopters being the military who used the small images taken during photo-reconnaissance (PR) missions.  As camera technology improved, definition increased and more detail was captured but this was counted somewhat by increased anti-surveillance measures which forced the PR missions to operate at higher altitude.  Interestingly, the Allied military in World War II (1939-1945) found women much more efficient in both analysing PR and assembling montages.

A montage of Lindsay Lohan as Andy Warhol (1928–1987) might have rendered.

The techniques honed in wartime proved valuable in peacetime for creating large-scale maps and renderings from sometimes even thousands of small fragments.  This was the way big areas on the surface of the earth were able to be visualized as if a single photograph and in the 1950s work began on the task of mapping the ocean floor, something of interest not only oceanographers & nautical geographers but also to navies, commercial shipping companies and miners, the oil & gas industry long aware that vast untapped resources lay under the waves.  The concept of mapping the seabed is simple in that all that is required is to have the images in the form of a grid which could then be assembled in a single montage (the world’s biggest).  However, while the scale in terms of the surface area proved manageable, obtaining the data at depths in which pressures are immense and darkness total proved as challenging as predicted and although the maps are in a sense complete, the deepest parts of the oceans remain to some extent mysterious.  The available montages (which scientists call bathymetric data sets) include the GEBCO (General Bathymetric Chart of the Oceans which is an international project), Seabed 2030 (a collaborative project between GEBCO and the Japanese Nippon Foundation which plans to have a comprehensive map of the entire ocean floor by 2030), the EMODnet (European Marine Observation and Data Network which publishes highly detailed bathymetric maps for European waters) and the US NOAA (National Oceanic and Atmospheric Administration which offers maps of US waters and contributes to global programmes, their material available through the National Centers for Environmental Information (NCEI).

A montage of Lindsay Lohan as Andy Warhol (1928–1987) might have rendered.

The difference between collage and montage is that while a collage weaves together things of difference to create a unified whole, a montage uses complete things of some similarity to create something visually coherent although, with some modern artists, coherence can prove elusive, however cohesive a whole the glue might produce.  At the definitional margins however, the distinctions can be significant in the production but be undetectable in the result.  To create what appeared to be the montage of the seabed, what was done was technically a collage, the assembled components including photographs, renderings from ship-based sonar measurements and satellite altimetry as well as some enhancement in software.  However big might have been the ambition to create a unified montage of the ocean floor, cosmologists & astronomers thought bigger still and as space-based cameras and wandering craft became available, montages were assemble of objects such as the moon and the lovely rings of Saturn.  Aiming to produce the grandest montage of all is the European Space Agency which (ESA), using observations from their Euclid space mission (launched in July 2023) will explore dark matter and dark energy; over time billions of galaxies will be viewed.  What makes Euclid different from the Hubble Telescope and JWST (James Webb Space Telescope) is it can survey large parts of the sky at once, the agency describing the difference as between looking through a window compared with a keyhole.  In time, all the known objects in the universe might be photographed which will permit quite a montage but what really interests the cosmologists is the dark matter (which may actually be dark energy or a combination of the two) so it’s a quest for the known unknowns and unknown unknowns.

Mosaic

Mosaic (pronounced moh-zey-ik)

(1) A picture or decoration made of small, usually colored pieces of inlaid stone, glass etc.

(2) The process of producing such a picture or decoration.

(3) Something resembling such a picture or decoration in composition, especially in being made up of diverse elements (in general use, often confused with a collage or montage).

(4) In surveying, a number of aerial photographs assembled as a continuous photographic representation of an area (commonly called a mosaic map, aerial mosaic or photo-mosaic).

(5) In architectural plans, a system of patterns for differentiating the areas of a building or the like, sometimes consisting of purely arbitrary patterns used to separate areas according to function but often consisting of plans of flooring, reflected ceiling plans, overhead views of furnishings and equipment, or other items really included in the building or building plan.

(6) In the plant pathology field in biology, any of several diseases of plants, characterized by mottled green or green and yellow areas on the leaves, caused by certain viruses (also called mosaic disease); an organism exhibiting mosaicism.

(7) In television production, a light-sensitive surface in a camera tube, consisting of an insulating medium (a thin mica sheet) coated on one side with a large number of granules of photo-emissive material (small globules of silver and cesium insulated from each other).  The image to be televised is focused on this surface and the resulting charges on the globules are scanned by an electron beam.

(8) Of, pertaining to, resembling, or used for making a mosaic or mosaic work.

(9) As a general descriptor, something (physical, abstract or conceptual) composed of a combination of diverse elements (in this sense mosaic, collage & montage are often applied in undifferentiated fashion).

(10) To make a mosaic; to decorate with mosaic.

(11) In theology, of or pertaining to Moses or the writings, laws, and principles attributed to him (always initial capital).

(12) In genetics an alternative name for chimera (an individual composed of two or more cell lines of different genetic or chromosomal constitution, but from the same zygote).

(13) In graphical production (or as a tool of censorship), a pixelization of all or part of an image.

(14) An early web browser developed by the National Center for Supercomputing Applications (NCSA), the name an allusion to the integration of multiple components including HTTP (Hypertext Transfer Protocol), FTP (File Transfer Protocol) and Gopher's search & communications protocols.  It was the first widely adopted browser which used an implementation of the user interface still in use today.

(15) In palaeontology, as Mosaic evolution (or modular evolution), a theory that evolutionary change can occur in some body parts or systems without simultaneous changes in other parts.

1350–1400: From the Middle English, from the Old French mosaicq (mosaic work), from the Middle French moysaique & mosaïque, from the Italian mosaico, from the fifth century Medieval Latin mōsaicus & musaicum, a re-formation of the Late Latin musīvum (opus), from the Latin musēum & musaeum (mosaic work) of unknown origin.  The variants are assumed by etymologists to be linked to the Late Greek Μουσεῖον (Mouseîon) (mosaic work; shrine of the Muses; museum) by analogy with archivum & archīum (archive) although the classical Greek is nowhere attested in the sense “mosaic”.  The Ancient Greek mouseios (of the Muses) was from Μοῦσα (Moûsa) (Muse).  Because of the influence of both Moses and the Muses, the history is tangled.  The word was formed in Medieval Latin as though from the Greek, but the Late Greek word meaning "mosaic work" was mouseion (and further to twist the tale etymologists note this sense in Greek was borrowed from Latin).  The meaning "a piece of mosaic work" dates from the 1690s while the figurative form (anything resembling a mosaic work in composition) had been in use since the 1640s.  The familiar adjectival use in English in the sense of "made of small pieces inlaid to form a pattern" dates from the 1580s.  The spellings mosaick & musaic are listed by dictionaries respectively as obsolete & archaic.  Mosaic is a noun, verb & adjective, mosaicked is a verb, mosaicing, mosaicism & mosaicist are nouns, mosaiced & mosaicking are adjectives and mosaically is an adverb; the noun plural is mosaics.  All forms use an initial capital if used in association with Mosaic law.

Mosaic of Bruce McLaren (1937–1970) by Nikki Douthwaite (1973-2022); car is a 1968 Mclaren M7A, still fitted with the adjustable spoilers which (of course) the FIA banned.  The late Ms Douthwaite used a technique called pointillist hole punch art, the mosaics crafted by individually placing (using tweezers) colored paper dots which are the waste material from office hole punches.  Her mosaics, containing sometimes hundreds of thousands of dots, were constructed over weeks and finished with a preservative varnish.

Although the specific technical meanings are respected in science, in art & design, the terms mosaic, collage and montage are often used interchangeably and that’s sometimes understandable because the three can be visually similar and close examination can be required to determine the correct form.  In the visual arts, a mosaic is created by locating & fixing small (classically square tiles), usually colored pieces of inlaid stone, glass etc to create a pattern.  A collage is a picture created by using items of different shape, composition etc to create a (hopefully) thematically integrated result.  A montage is a work created by in some way assembling a number of separate components which are conceptually or thematically similar (even to the point of being identical.

Portrait by Lindsay Lohan by Jason Mecier (b 1968).  His work is crafted using discarded items and he attempts where possible to use objects in some way associated with his subjects.  Although described by some as mosaics, his technique belongs to the tradition of college.

The use in theology dates from 1655–1665, from the New Latin Mosaicus, the construct being the Late Latin Mōs(ēs) (Moses) + (the text-string) -aicus, on the model of Hebraicus (Hebraic).  In writing relating to Mosaic law or ethics, the adjectival forms Mosaical (which pre-dated Mosaic) and post-Mosaic are common.  The Ebionites were a Jewish Christian sect during the first two centuries after the crucifixion of Christ.  Ebonite was from the Latin ebonita, from the Greek Ἐβιωναῖοι (Ebionaioi), from the Hebrew אביונים‎ (ebyon; ebyonim; ebionim) (the poor, the poor ones) and the sect’s name was chosen to reflect their belief that poverty was a blessing and plenty a curse.  Their Christology was adoptionist, maintaining Jesus of Nazareth was mere human flesh & blood and therefore Christians continued bound by the Mosaic Law, the adherence to which was why God choose Jesus to be a messianic prophet in the vein of Moses himself.  While within the sect there were theological differences but the central tenet was that the essential Christian orthodoxy of the divinity of Jesus was a heresy and that he was the natural born son of Joseph and Mary.

Montage created with fragments from Lindsay Lohan's Playboy Magazine photoshoot, 2011.

The Ebionite world-view obviously shares much with Judaism but to mainstream (indeed almost all) thought within Christianity they are wholly heretical, the rejection of Christ’s divinity the objection rather than and technical points of difference with the Mosaic code of law.  Islam of course objected to Christian theology because it distorted the purity of monotheism, the doctrine of the Trinity a dilution of the Abrahamic God and really a type of iconography.  However, the Ebionites were faithful to the original teachings of the historical Jesus and thus shared Islamic views about Jesus as a prophet yet still mere human flesh and blood, leading to the intriguing situation of the Jewish Christianity which vanished from the early Christian church being preserved in Islam.  The particular Ebionite teaching of Jesus as a follower of Mosaic law was later reflected in the Koran which were the words of the prophet Muhammad.

Detail of the pointillist hole punch technique.  There are a number of pointillist methods using devices as varied as lasers and Sharpie brand pens.

Collage

Collage (pronounced kuh-lahzh or koh-lahzh)

(1) The technique, most associated with visual abstract art, of composing a work of art by pasting on a single surface various materials not normally associated with one another, as newspaper clippings, parts of photographs, theater tickets, and fragments of an envelope.

(2) A work of art produced by this technique.

(3) An assemblage or occurrence of diverse elements or fragments in (1) and unlikely or unexpected juxtaposition or (2) a coherent result.

(4) In film, a series of seemingly unrelated scenes or images or shifts from one scene or image to another suddenly and without transition.

(5) Any work created by combining unrelated (or at least definably different) styles; in literature, a combination of styles within the one work; in music a combinations of genres.

1915–1920: From the French collage, the construct being coll(er) (paste, glue) + -age.  Coller was from the Ancient Greek κόλλα (kólla) (glue) of uncertain origin but may ultimately be from the primitive Indo-European kol- and cognates included the Russian кле́й (kléj) and the Middle Dutch helen. The –age suffix was from the Middle French -age, from Old French -age, from the Latin –āticum (influential in words like rivage and voyage) which was used to form nouns or collective nouns in the sense of "action or state of being (a) X, result of Xing" or (more rarely), "action related to X".  Although the historical suffix has had many applications (eg family relationships or locations), it’s now almost wholly restricted to the sense of "action of Xing", and many terms now have little to no connection with the most common uses something especially notable in forms descended from actual Latin words such as fromage and voyage.  Collage & Collagist are nouns, collaged & collaging are verbs (used with object); the noun plural is collages.

Of the accidental & intentional

It not certain exactly when collage was first used in the sense its modern meaning.  It's sometimes credited to English painter and critic, Wyndham Lewis (1882–1957) who used the term in a 1919 publication but that’s contested given the word had appeared earlier though there’s some doubt whether that was in reference to the mechanical technique or the final product.  What became known as collage certainly long pre-dates 1919; papier collé was used by both Pablo Picasso (1881–1973) and Georges Braque (1882–1963) early in the century and artists, authors & painters had for centuries been producing work from disparate components.  In the digital age, the somewhat misleadingly named software eCollage (and many others) allowed collages to be created on screen although, technically, these programs were as often used to render photomontage as collage.  The opportunistically named iCollage is an image-assembly app for iOS.

A montage of Che Guevara collages.  The difference between collage and montage is that while a collage weaves together things of difference to create a unified whole, a montage uses complete things of some similarity to create something visually coherent although, with some modern artists, coherence can prove elusive.

Colleges by Giuseppe Arcimboldi; Left to right: Four Seasons in One Head, oil on canvas, (circa 1590), Fire, oil on wood, (1566), Rudolf II, Holy Roman Emperor painted as Vertumnus, Roman god of the seasons, oil on canvas, (circa 1591), The Librarian, oil on canvas, (1566) & Summer, oil on canvas, (1563).

In Western portraiture, the collage is not a recent form.  Although also a conventional court painter of portraits and sacred art, Italian artist Giuseppe Arcimboldi (1527–1593) was noted for his portraits rendered as collages, the heads fashioned from objects such as vegetables, fruits, flowers & fish.  Very much the modern art of his day, his fanciful work seems to have been well received and critics have linked his work to the tradition of Mannerism.  Examples of collage have been found which pre-date Antiquity and the idea of assembling some representation of something from whatever items fall to hand is thought likely to have been one of the earliest forms of human artistic expression. 

Colleges by Jason Mecier; Left to right: Sigmund Freud, Frida Kahlo, Barack Obama, Lindsay Lohan & Donald Trump.

Los Angeles based pop artist Jason Mecier (b 1968) operates in a particular niche of the collage world, his mosaic portraits fabricated from unconventional materials, sometimes thematic (Sigmund Freud rendered in pills) and most famously, trash.  Perhaps surprisingly, Mr Mecier seems never to have fashioned a likeness of crooked Hillary Clinton; even when working with trash, presumably one has to draw the line somewhere.

Mural

Mural (pronounced myoor-uhl)

(1) A large picture painted or affixed directly on a wall or ceiling.

(2) A greatly enlarged photograph attached directly to a wall.

(3) A wallpaper pattern representing a landscape or the like, often with very widely spaced repeats so as to produce the effect of a mural painting on a wall of average size; sometimes created as a trompe l'oeil (“deceives the eye”).

(4) Of, relating to, or resembling a wall.

(5) Executed on or affixed to a wall.

(6) In early astronomy, pertaining to any of several astronomical instruments that were affixed to a wall aligned on the plane of a meridian; formerly used to measure the altitude of celestial bodies.

1400–1450: From the late Middle English mural, from the Latin mūrālis (of or pertaining to a wall), the construct being mūr(us) (wall) + ālis (the Latin suffix added to a noun or numeral to form an adjective of relationship; alternative forms were āris, ēlis, īlis & ūlis).  The Latin mūrālis was from the Old Latin moiros & moerus, from the primitive Indo-European root mei (to fix; to build fences or fortifications) from which Old English picked-up mære (boundary, border, landmark) and Old Norse gained mæri (boundary, border-land).  In the historic record, the most familiar Latin form was probably munire (to fortify, protect).  The sense of "a painting on a wall" seems to have emerged as late as 1915 as a clipping of "mural-painting" (a painting executed upon the wall of a building), a term in use since at least 1850 and derived from mural in its adjectival form.

The adjective intermural (between walls) dates from the 1650s, from the Latin intermuralis (situated between walls), the construct being from inter- (between) + muralis (pertaining to a wall) from mūrus (wall).  The adjective intramural (within the walls (of a city, building etc)) dates from 1846, the construct being intra- (within) + muralis (pertaining to a wall) from mūrus (wall); it was equivalent to Late Latin intramuranus and in English, was used originally in reference to burials of the dead.  It came first to be used in relation to university matters by Columbia in 1871.  Mural is a noun, verb & adjective; muraled is a verb & adjective, muralist & muralism are nouns and muraling is a verb; the noun plural is murals.  The adjectives murallike, muralish & muralesque are non-standard and the adverb murally is unrelated, murally a term from heraldry meaning “with a mural crown” and used mostly in the technical terms “murally crowned” & “murally gorged”.  A mural crown was a crown or headpiece representing city walls or towers and was used as a military decoration in Ancient Rome and later as a symbol in European heraldry; its most common representation was as a shape recalling the alternating merlons (raised structures extending the wall) atop a castle’s turret which provided defensive positions through which archers could fire.  The style remains familiar in some of the turrets which sometimes on the more extravagant McMansions and in the chess piece properly called the rook but also referred to as a castle.

Lindsay Lohan murals in the style of street art (graffiti): In hijab (al-amira) with kebab roll by an unknown street artist, Melbourne, Australia (left), the photograph the artist took as a template (centre) and in a green theme in Welcome to Venice mural by UK-born Californian street artist Jules Muck (b 1978) (right).  While a resident of Venice Beach, Ms Lohan lived next door to former special friend, DJ Samantha Ronson (b 1977).

In multi-cultural Australia, the kebab roll has become a fixture in the fast-food scene with variations extending from vegan to pure meat, the term “kebab” something of a generic term meaning what the vendor decides it means.  Cross-culturally the kebab roll also fills a niche as the standard 3 am snack enjoyed by those leaving night clubs, a place and time at which appetites are heightened.  After midnight, many kebab rolls are sold by street vendors from mobile carts and those in the Middle East will not be surprised to learn barbaric Australians sometimes add pineapple to their roll.  The photograph of Ms Lohan in hijab was taken during a “doorstop” (an informal press conference) after her visit in October 2016 to Gaziantep (known to locals as Antep), a city in the Republic of Türkiye’s south-eastern Anatolia Region.  The purpose of the visit was to meet with Syrian refugees being housed in Gaziantep’s Nizip district and the floral hijab was a gift from one of the residents who presumably assisted with the placement because there’s an art to a well-worn al-amira.  Ms Muck’s work was a gesture to welcome Ms Lohan moving from Hollywood to Venice Beach and the use of green is a theme in many of her works.  Unfortunately, Ms Lohan’s time in Venice Beach was brief because she was compelled to return to New York City after being stalked by the Freemasons.

Mural montage: Donald Trump (b 1946; US president 2017-2021 and since 2025) osculating with Mr Putin (Vladimir Vladimirovich Putin; b 1952; president or prime minister of Russia since 1999), Benjamin Netanyahu (b 1949; Israeli prime minister 1996-1999, 2009-2021 and since 2022), Boris Johnson (b 1964; UK prime-minister 2019-2022), Francis (1936-2025; pope 2013-2025) and “Lyin’ Ted” Cruz (b 1970; US senator (Republican-Texas) since 2013).

Probably not long after the charcoal and ochre of the first cave paintings was seen by someone other than the artist, there emerged the calling of “art critic” and while the most common fork of that well-populated profession focuses on the aesthetic, art has also long been political.  The mural of course has much scope to be controversial because they tend to be (1) big and (2) installed in public spaces, both aspects making the things highly visible.  Unlike a conventionally sized painting which, even if large, a curator can hang in some obscure spot or put into storage, the mural is just where it is and often part of the built environment; there it will be seen.  In art history, few murals have more intriguing tales than Michelangelo’s (Michelangelo di Lodovico Buonarroti Simoni; 1475–1564) ceiling and frescos (1508-1512) in the Vatican’s Sistine Chapel but although there were at the time of the commissioning and completion few theological or political squabbles, there were the Vatican’s usual personal and institutional tensions, cardinals and bishops with their own agendas (some financial) peeking and poking into why Julius II (1443–1513; pope 1503-1513) had handed the juicy contract to someone thought primarily a sculptor rather than a painter.

Sistine Chapel, The Vatican, Rome.

The political stoush came later.  At the time, the nudity had been noted and while some voices were raised in opposition, there was no attempt to censor the work because during the High Renaissance, depictions of nudity (on canvas, in marble etc) were all around including in the Vatican but decades later, during the sittings of the Council of Trent (1545–1563), critiques of “nakedness” in art became more vocal.  That was especially the case after the Counter-Reformation (circa 1550–circa 1670) produced a more severe Church, a development with many repercussions, one of which was the “fig-leaf campaign” in which an artist was commissioned to paint over (especially male) genitalia, the traditional “fig leaf” the preferred device.  Perhaps curiously, despite the early appearance of the motif in the art of Christendom, for centuries the fig leaf wasn’t “obligatory” although they appear often enough that at times they must have been at least “desirable” and in other periods and places clearly “essential”.  The later infamous “Fig Leaf Campaign” was initiated by Pope Paul IV (1476–1559; pope 1555-1559) and continued by his successors although it was most associated with the ruling against “lasciviousness” in religious art made in 1563 by the Council of Trent.  It was something very much in the spirit of the Counter-Reformation and it was Pius IV (1499–1565; pope 1559-1565) who commissioned artist Daniele da Volterra (circa 1509–1566) to paint over the genitalia Michelangelo had depicted on his ceiling, extending his repertoire from strategically positioned leaves to artfully placed draperies or loincloths; Romans to his dying day nicknamed Volterra “Il Braghettone” (the breeches maker).  As late as the nineteenth century Greco-Roman statues from antiquity were still having their genitals covered with fig leaves (sometimes detachable, a trick the British Museum later adopted to protect Victoria’s (1819–1901; Queen of the UK 1837-1901) delicate sensibilities during her infrequent visits).  Another example of practical criticism was the edict by Pius IX (1792–1878; pope 1846-1878) that extant male genitalia on some of the classical statues adorning the Vatican should be “modified” and that involved stonemasons, sculptors and other artisans receiving commissions to “modify or cover” as required, some fig leaves at the time added.  It is however a myth popes sometimes would be seen atop a ladder, chisel in hand, hammering away for not only did they hire "the trades" to do their dirty work, what was done was almost always concealment rather than vandalism.

Then a work in progress, this is one of the few known photographs of Diego Rivera's mural in New York City's Rockefeller Center.  According to the Workers Age of 15 June, 1933, the image was "...taken surreptitiously by one of Rivera's aides..."  

Still, no pope ever ordered Michelangelo’s creation painted over but not all artists were so fortunate.  On 9 May 1933 (by coincidence a day when the Nazis publicly were burning books), New York’s very rich Rockefeller family ordered Mexican artist Diego Rivera (1886-1957) to cease work on his mural depicting "human intelligence in control of the forces of nature", then being painted in the great hall of the 70-storey Rockefeller Center in New York City.  Taking photographs of the mural was also prohibited.  What incurred the family’s wrath was the artist's addition of a depiction of Bolshevik revolutionary comrade Vladimir Lenin (1870–1924; head of government of Russia or Soviet Union 1917-1924) against a background of crowds of unemployed workers.  Comrade Lenin had not appeared in the conceptual sketch (entitled Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future) the artist had provided prior to the commission being granted.  Nelson Rockefeller (1908–1979; US vice president 1974-1977 and who earned immortality by having "died on the job") genuinely was a modern art fan-boy and attempted to negotiate a compromise but it was the nadir of the Great Depression, marked by plummeting industrial production, bank failures and an unemployment rate approaching 25%; other family members, knowing there was in the air talk of revolution (the Rockefeller family had much to lose), didn’t want unemployed getting ideas.  To them, Lenin was close to being the devil incarnate and "the devil makes work for idle hands".  The mural was covered by a canvas drape until February 1934 when, under cover of darkness, it was broken up and carted off to be dumped, the family dutifully having paid the artist his US$21,000 fee.

Lunch

Lunch (pronounced luhnch)

(1) A light midday meal between breakfast and dinner; luncheon.

(2) Any light meal or snack.

(3) To eat lunch.

(4) In slang, as “out to lunch”, dim, vague, uselessly ineffectual.

(5) In slang as “lunchy”, old-fashioned; passé; out of style (obsolete).

(6) In slang as “eating their lunch”, outwitting an opponent.

(7) In Caribbean slang (among older folk), mid afternoon tea.

(8) In first-class cricket, the break in play between the first and second sessions (confusingly for those new to cricket, although the first session is often called the "pre-lunch session", the second is known as the "lunch session" and not the "post lunch session").

(9) In Minnesota, USA, any small meal, especially one eaten at a social gathering.

1580:  It’s never been clear which came first: lunch or luncheon.  Origin of both is thought to lie in a dissimilated variant of nuncheon, the Middle English nonechenche (noon ling meal and drink), equivalent to none (noon) + schench (from the Old English scenc or scencan (to pour out, give drink)), cognate with the Dutch and German schenken.  Apparent unrelated, Old English had nonmete (afternoon meal, literally "noon-meat").  Nonechenche was possibly altered by the northern English dialect lunch (hunk of bread or cheese) from 1590 which may be from lump or the Spanish lonja (slice, literally “loin”).  Because dinner in the sense of the biggest or main meal of the day) could be eaten either at around noon, in the evening or at night, there was a need for a meal to fill the gap between breakfast and dinner.  Lunch is a noun & verb, luncher is a noun, lunching is a noun & verb and lunched is a verb; the noun plural is lunches.

A montage of a languid Lindsay Lohan lingering over lunch.

The idea of lunch as it’s now understood took a long time to evolve, to “take a lunch” in 1786 is recorded as eating a chunk of something (perhaps evolved from lump), carved sufficiently large to constitute a filling meal and as late as 1817, the US Webster’s Dictionary offered as the only definition of lunch "a large piece of food", a meaning long obsolete and in the 1820s, the Oxford English Dictionary (OED) thought it either “a vulgarism or a fashionable affectation".   Nevertheless, lunch’s intrusion into the language in the nineteenth century does suggest some sort of social change was afoot, either in the type, style or timing of meals or at least the words used to describe them.  Lunch-money was attested from 1868; lunch-time from 1821; lunch hour from 1840 and the lunch-break from 1960.  The slang phrase out to lunch in the sense of “a bit vague, dim, clueless (but some way short of actually insane) was first recorded in recorded 1955, the notion of being "not there" and instead at lunch.  The luncheon voucher was a public health measure, introduced in 1946 by the UK’s post-war Labour government (1945-1951).  It was literally a paper voucher which represented the mechanism by which the government would subsidize midday meals taken in private restaurants by employees in workplaces where there was no staff canteen.  Luncheon vouchers were an attempt to improve the national diet by encouraging the consumption of healthy, nutritious food at a time when so many basic items were still subject to the rationing imposed during wartime (indeed, some foodstuffs were subject to rationing only after the conflict ceased).  In an example of bureaucratic inertia, the scheme existed to an extent until 2013 by which time the effects of inflation had made the by then trivial subsidy inconsequential.

Receptacles in which to store one’s lunch for transport have a history.  The lunch-box is documented from 1864, the lunch-pail from 1891.  Those were descriptive nouns whereas lunch-bucket emerged in the 1990s as an adjective indicating working-class men or values, bucket presumably the best word because it was universally understood in the English-speaking world to an extent pail was not.  Lunch-bag seems never to have become a common form despite being widely used but in the 1970s, the verb brown-bag (and the related brown-bagging) referring to bringing lunch or liquor in a brown paper bag.  A long-time staple of a lunch-pail’s contents, lunch-meat (a processed form of meat-based protein produced in a size which, when sliced, was aligned with the slices of standard loaves of bread and thus convenient for making sandwiches) was first documented in 1931.  The lunch-counter (a long, elevated table or bench where customers eat standing or sitting on high stools) is an 1854 invention of US English.

The possible future of lunch: Grilled jellyfish.  Although many fish species are in decline, jellyfish numbers are growing.  The part eaten for lunch is called the umbrella. 

The portmanteau word brunch dates from circa 1890, a British student slang merging of breakfast and lunch, according to the magazine Punch (1 August 1896).  It appeared in 1895 in the defunct Hunter's Weekly, but two years earlier, at the University of Oxford, the students had drawn what must at the time have seemed an important distinction: The combination-meal, when nearer the usual breakfast hour, is "brunch" and, when nearer luncheon, is "blunch".  That’s a linguistic curiosity in that the brunch survived while blunch did not yet the modern understanding of a brunch appears to be something taken closer to the time of lunch than breakfast.  It may be that brunch was just the more pleasingly attractive word, blunch not so well rolling off the tongue.  Several spellings of luncheon were noted in the decades after the 1640s, the now standardised form not widespread until 1706.  Of uncertain origin, in the 1580s was used to describe something like the northern English dialectal lunch (hunk of bread or cheese), though influenced by the Spanish lonja (a slice, literally "loin"), blended with or influenced by nuncheon, from the mid-fourteenth century Middle English nonechenche, (light mid-day meal), from none (noon) + schench (drink), from the Old English scenc, from scencan (pour out).

The possible future of lunch: Fishcakes.  Fishcakes are a way by-products of the industrial processing of seafood can be sold as a protein source (ie make use of what would be otherwise used for agricultural feed, the pet-food business or end up a waste product.

The etymology of all these words is tangled and there are reasons to suspect the similar forms arose independently in different place rather than as forks of anything vaguely lineal, the OED discounting the notion of lunching, which dates from the 1650s, being derived from the verb lunch because that wasn’t to be attested for another century, the OED suggesting there may be some connection (by analogy) with words like truncheon etc to simulate a French origin which is speculative but such things are not unknown in ever class-conscious England.  Whatever the origin, it does seem to have been used to describe an early afternoon meal eaten by those who take dinner at noon.

Macabre

Macabre (pronounced muh-kah-bruh, muh-kahb or muh-kah-ber)

(1) Gruesome or horrifying; grim; ghastly; horrible.

(2) Of, pertaining to, dealing with, or representing death, especially its grimmer or uglier aspects.

(3) Of or suggestive of the allegorical dance of death and related works of art.

1370s: From the French macabre, from the Middle French danse (de) Macabré, of uncertain origin.  It may have been influenced by the Medieval Latin chorēa Machabaeōrum (a representation of the deaths of Judas Maccabaeus and his brothers) but there’s no documentary evidence (the Maccabees a “liberation movement” who in the second and first centuries BC established Jewish independence in the Land of Israel),  In the popular imagination, the biblical Maccabees became associated death because of the doctrines and prayers for the dead in 2 Maccabees 12:43-46 in which is discussed Judas Maccabeus sending money to Jerusalem as a “sin offering” for those of his soldiers who had fallen in battle while wearing idolatrous amulets, forbidden by Jewish law.  Theologically, the passage is controversial because not all accept the interpretations which focus on the significance of a Jewish belief in prayer for the dead and the concept of Purgatory as a place rather than conceptual imagining.  The notion of “prayer & payments” as the means by which the dead could be “loosed from their earthly sins” so in Purgatory their souls would undergo purification after death did become embedded in Christianity, later associated with the rampant corruption of clerical indulgences which would play a part in triggering the reformation.  The alternative suggestion for the etymology is the French form was (via the Spanish macabro) from the Arabic مَقَابِر (maqābir) (cemeteries), plural of مَقْبَرَة (maqbara) or مَقْبُرَة (maqbura).  Borrowing from the Arabic in plural form was not unusual (eg magazine, derived from the plural مخازن (maxāzin) of the Arabic singular noun مخزن (maxzan) (storehouse; depot; shop) so etymologically the theory is possible but, like the Latin link, evidence wholly is lacking. 

The abstracted sense of “characterized by gruesomeness” emerged in French in the 1840s and that was picked up by English by at least 1889, dictionaries noting a racial sense from 1921.  The sense of “a comedy that deals in themes and subjects usually regarded as serious or taboo” was what extended the figurative use, suggesting “something morbid”.  The origin of that, although contested, is most associated with the French left and new wave of the late 1950s (pièce noire, comédie noire) which may have been the source of the terms “black comedy” & “dark comedy” in English.  Words similar in meaning include spooky, ghastly, ghoulish, grisly, morbid, gruesome, weird, frightening, grim, lurid, cadaverous, deathly, dreadful, frightful, ghostly, hideous, horrible, offensive & scary.  The first known reference to “danse macabre” dates from 1376 in the poem Respit de la Mort: Je fis de macabre la dance (Spared from death, the dance of the macabre) by Jehan Le Fèvre:

Je fis de Macabre la danse,
Qui tout gent maine à sa trace
E a la fosse les adresse.

I danced with the Macabre,
Which all people follow in his footsteps
And send them to the grave.

The poet used it as a noun, inspired presumably by a near-death experience but when it in the early-mid 1400s came into common use it was as an adjective and during the Romantic era it assumed also the meanings some distance from death (grotesque, tragic etc).  In the late Middle English the spelling was Macabrees daunce (reflecting the influence of the Church) and the French pronunciation (with mute “e”) was a misreading of the Middle French forms.  Macabre is an adjective, macabreness is a noun and macabrely is an adverb.  The spelling macaber is now so rare as to be functionally extinct and in popular culture macabre is used as a non-standard noun (the plural “the macabres”, on the model of the disparaging “the ghastlies”).  

Dance of Death

Danse Macabre of Basel (circa 1450), a memento mori painting by an unknown artist, Historisches Museum Basel (Basel Historical Museum), Barfüsserkirche, Basel, Switzerland.

The Danse Macabre (Dance of Death) was an artistic genre of allegory dating from the late Middle Ages; exploring the universality of death, it made clear that however high or low exulted one’s station in life, the death ultimately will visit all.  It was a popular artistic motif in European folklore and the most elaborated of all Medieval macabre art.  During the fourteenth century, Europe was beset by deathly horrors, recurring famines, the Hundred Years’ War (1337-1453) and, looming over all, the Black Death, an outbreak of bubonic plague which between 1346-1353 may have killed as many as 50 million, making it one of history's most lethal pandemics.  In reducing the population of Europe by between a third and a half, its demographic, political and economic implications were felt for centuries.  In these difficult times, when death not infrequently would strike just about every family in some regions, the Danse Macabre culturally was assimilated across the continent, an omnipresent chance of either a sudden or lingering, painful death spurring not only a religious desire for penance but also an urge to make the most of whatever time was left to one.

Macabre montage: Three images from Terry Richardson's (b 1965) suicide-themed shoot with Lindsay Lohan, 2012.

Especially during the fifteenth and early sixteenth centuries, the theme was a source of the vivid and stark paintings on the walls of churches and the cloisters of cemeteries and ossuaries.  Art of the Danse Macabre was typically a depiction of the personification of death summoning the doomed to dance along to the grave and they featured characters from the exultated to the most humble; popes, emperors, lawyers, laborers & children all appearing, the popular motifs in the works including hourglasses, skulls and extinguished candles.  Although the art was moral and allegorical, many also had a satirical tone and, reflecting the mores of the times, although they made clear death finally would claim rich and poor alike, the living usually were arranged in an order following the the conventional sense of precedence, popes, cardinals, kings, dukes and such at the head of the queue, blacksmiths, fellmongers and farm workers knowing their place; the “cold gradations of decay” in the phrase of Dr Johnson (Samuel Johnson (1709-1784)).  The pieces were also among the multi-media productions of the medieval period, appearing variously in manuscript illustrations, printed books, paintings on canvas, wood & stone, engravings on stone and metal, woodcuts, sculpture, tapestry embroidery & stained glass as well as in prose & verse.  They were produced as mementos mori, a Latin phrase translated literally as “remember you will die”.  That wasn’t intended to be thought macabre but rather a gentle reminder of the brevity of life and the fragility of earthly existence, hopefully inspiring folk to live lives more fulfilling and purposeful.  The tradition, although it became increasingly detached from its religious associations, never died and has enjoyed periodic resurgences over the last six-hundred years, notably after horrific events such as epidemics or World War I (1914-1918).  The COVID-19 pandemic seemed not to stimulate similar art; popular culture’s preferred platforms have shifted.

The lure of macabre collectables 

It's macabrely ironic the market for bits and pieces associated with RMS Titanic (1911-1912) continues to be buoyant and although for decades after the end of World War II (1939-1945) the trade in Nazi memorabilia flourished on both sides of the Atlantic, in recent years such collecting has attracted increasingly strident criticism and in some jurisdictions the (public) buying and selling of certain items has been banned,  There remains some tolerance for the trade what which would otherwise anyway be collectable (aircraft, armoured vehicles and such) and items of genuine historical significance (such as diplomatic papers) remain acceptable but the circulation of mere ephemera with some Nazi link is increasingly being condemned as macabre and the higher the prices paid, the more distasteful it’s claimed to be.  Nor is it only material tainted by an association with the Nazis which is condemned by some as “trading in the macabre”.

French racing driver Pierre Levegh (1905-1955) in Mercedes-Benz 300 SLR (chassis 0006/55, left), the wreckage after the fire finally was extinguished (centre) and the surviving Elektron panel (right).

In 2023, a battered metal panel from the Mercedes-Benz 300 SLR (W196S, chassis 0006/55) which crashed during the running of the 1955 Le Mans 24 Hour endurance classic sold at auction for US$37,000.  That would have been unremarkable except it was in the aftermath of that crash that more than 80 spectators were killed and many more badly injured; it remains the most lethal single event in the history of the sport and one which led to some profound changes, many of which remain in force to this day.  Footage of the crash is available on-line and it will shock those accustomed to modern safety standards to see the cars continuing to race despite the carnage in the grandstand only metres away, the driver’s corpse lying on the track and the wreckage of the 300 SLR continuing to burn, the water used by fire-fighters making the intensity worse because of the exotic Elektron (a magnesium alloy) used in the lightweight construction.  The surviving panel (a cover placed for aerodynamic advantage over the passenger-side of the cockpit) was retrieved by a track marshal and it remained in his family’s possession until offered at auction by his nephew who inherited it.  Based on the unique underside markings, the factory confirmed the provenance and the auction house described it as “an authentic relic” from one of the “most exclusive models in the history of the automobile”, its special significance coming from involvement in “one of the most significant events in the history of international motor sport”.  Some though it macabre to be trading in something which gained its notoriety from so much death but the interest in such stuff in long standing, the Austin-Healey also involved in the incident in 2011 selling for US$1.3 million although it subsequently had been repaired and continued to race so anyway would have been a collectable on the historic racing circuit though doubtlessly it would have commanded a lower price.

US film star James Dean (1931–1955) with 1955 Porsche 550 Spyder (chassis 550-0055) shortly before his death, the 1955 Ford Country Squire with tandam-axle trailer the team’s tow vehicle (left), the wrecked Porsche (centre) and its salvaged transaxle in display mounting (right).

The Cadillac to Mr Dean's left is a 1953 model and, beyond both having four wheels, one of the few things it had in common with the Porsche was the availability of a manual transmission (Porsche at the time offered no choice).  The black Cadillac was probably fitted with the company's four-speed Hydra-Matic automatic transmission although, after a fire destroyed the factory, almost 30,000 were in 1953 equipped with Buick's famously smooth but inefficient two-speed Dynaflow.  After the end of production of the 1953 Series 75, almost three decades would pass before Cadillac again offered a model with a manual transmission although that didn't end well (among the Cadillac crowd the Cimarron (1982-1988) is never spoken of except in the phrase "the unpleasantness of 1982") but in a much more convincing way the option returned to the list in 2004 and by 2013, while one could buy a Cadillac with a clutch pedal, one could not buy such a Ferrari.  For most of the second half of the twentieth century, few would have thought that anything but improbable or unthinkable.   

The death toll need not be in the dozens for collectors to be drawn to relics associated with tragedy; one celebrity can be enough.  In 2021, the four-speed transaxle from film star James Dean’s 1955 Porsche 550 Spyder (550-0055) sold in an on-line auction for US$382,000.  Again, based on the serial number (10 046) & part number (113 301 102), factory verified the authenticity and of the auction lot and it was only the transaxle which had been salvaged from the wreck, the display stand and peripheral bits & pieces (axles, axle tubes, brake assemblies etc) all fabricated.  The crash happened on SR (South Route) 466 (now SR 46) near Cholame, California, en route to October’s upcoming Salinas Road Races and Mr Dean was driving to familiarize himself with his new 550 Spyder which, although mid-engined and thus with a preferable weight distribution compared with the rear-engined 356 which previously he’d campaigned, had characteristics different than he’d before experienced.  In the dimming light of the late afternoon, the Porsche collided with the passenger-side of a 1950 Ford Tudor (two-door sedan) which had just entered the highway, driven by California Polytechnic State University student Donald Turnupseed (1932-1955).  Mr Turnupseed (later cleared by authorities of any blame) suffered only minor injuries while Mr Dean, less than an hour later, was pronounced DoA (dead on arrival) at hospital.

The much re-printed photograph of Sofia Loren (b 1934, left) and Jayne Mansfield (1933-1967, right), Romanoff's restaurant, Beverly Hills, Los Angeles, April 1957 (right), the "Mansfield crash" aftermath, June 1967 (centre) and a 1966 Buick Electra 225, claimed to be the car in which Jayne Mansfield died, Dearly Departed Tours and Artifact Museum, Los Angeles, California (right).

Ms Loren's sideways glance, one of the most famous in Hollywood's long history of such looks, variously has been interpreted as “sceptical”, “disapproving” and “envious”, the latter view likely restricted to men.  Ms Loren herself explained the look as one of genuine concern the pink satin gown might not prove equal to the occasion; on the night, there were several photographers covering the event and images taken from other angles illustrate why that concern was reasonable.  There has never been any doubt Ms Mansfield's "wardrobe malfunction" was "engineered and rehearsed".  In her pomp a significant figure in popular culture and a genuine celebrity, Ms Mansfield was a model & actress and what would later come to be known as a “multi-media personality”.  When young she won a number of sponsored beauty contests including being crowned “Miss Magnesium Lamp”, “Miss Fire Prevention Week” and “Miss Photoflash” but it’s reported she drew the line at becoming “Miss Roquefort Cheese” on the grounds it “just didn’t sound right”, something on which she seems not to have expanded, the chance to be “Miss Prime Rib” later also declined.

Three months later and great minds are thinking alike: Shirley Perdew (1939-2020, right), looking at Jayne Mansfield, Garden of Allah Hotel, Hollywood, July 1957.  Ms Perdew had just been crowned "Miss Hollywood 1957") and, as a former "Miss Photoflash", Ms Mansfield had been invited to join the voting panel.  The hotel was built in 1913 as a private residence before in 1926 being converted into a residential hotel; it was demolished in 1959.

On 28 June 1967, Ms Mansfield was a front-seat passenger in a 1966 Buick Electra 225 four-door hardtop, en route to New Orleans where she was next day to be the subject of an interview.  While cruising along the highway at around two in the morning, the driver failed to perceive the semi-truck in front had slowed to a crawl because an anti-mosquito truck ahead was conducting fogging and blocking the lane.  The mist from the spray masked the truck's trailer and, the driver unable to react in time, the car hit at high speed, sliding under the semi-trailer, killing instantly the three front-seat occupants.  Although the myth has long circulated she was decapitated, an idea lent some credence by the visual ambiguity of photographs published at the time, while it was a severe head trauma, an autopsy determined the immediate cause of death was a "crushed skull with avulsion of cranium and brain".  The phenomenon of the “under-run” accident happens with some frequency because of a co-incidence of dimensions in the machines using the roads.  Pre-dating motorised transport, loading docks were built at a height of around four feet (48 inches; 1.2 m) because that was the most convenient height for men of average height engaged in loading and unloading goods.  Horse-drawn carts and later trucks were built to conform to this standard so trays would always closely align with dock.  Probably very shortly after cars and trucks began sharing roads, they started crashing into each other and, despite impact speeds and traffic volumes being relatively low, the under-run accident was noted in statistics as a particular type as early as 1927.

1966 Buick Electra 225 Custom four-door Hardtop. GM (General Motors) Buick Division publicity shot.

The Buick was sold to a Florida-based collector who for decades kept it in storage before it was obtained for exhibition by the Dearly Departed Tours and Artifact Museum in Los Angeles, California.  The museum, described by its founder Scott Michaels as “for two decades a Los Angeles fixture”, was located on Santa Monica Boulevard, across from the Hollywood Forever Cemetery and was a “bricks & mortar” outgrowth of was a guided bus tour he’d previously conducted, taking tourists around the locations of tragic or horrific events which had transpired in the city; he had no shortage of sites.  Mr Michaels coined the term “Death Hag” and, as the ongoing popularity of “dark tourism” (variants including “atrocity tourism” and “holocaust tourism”) indicates, there is a market among those attracted to the macabre although motivations for the interest will be varied.  The museum had a focus on departed pop-culture celebrities and other exhibits included Mae West’s (1893–1980) false teeth, Rock Hudson’s (1925–1985) death bed, one of Sharon Tate’s (1943–1969) bras (32C) and a cigarette butt stubbed out by Carrie Fisher (1956-2016).

Dearly Departed Tours.

A thoughtfully designed site, as well as T-shirts and a gift store (blades of grass from the "grassy knoll" in Dealy Plaza, Dallas which made infomous by the assassination of John Kennedy (JFK, 1917–1963; US president 1961-1963; a fragment of the timber from Rock Hudson's death bed; shards of the shattered windscreen of Jayne Mansfield's death car and much more), there's a helpful "Find-a-Death" lookup feature (described by the L.A. Times as "deliciously sordid").

Presumably, frequently Mr Michaels checks for updates on the the well-curated Dead People site and it’s unlikely he’ll soon run out of subject matter because the recent proliferation of platforms and distribution channels has meant not only are more celebrities than ever being manufactured but the churn rate has also significantly increased; his mantra: “Famous people die every day” more true now than ever.  Unfortunately, the museum was forced to close in 2021 during the COVID-19 pandemic but, with the same attention to detail, he moved “Dearly Departed Tours” online, an innovation which has enabled his catchment of the macabre to extend well beyond Los Angeles.