Rorschach

Rorschach (pronounced raw-shack)

(1) A canton and town in Switzerland.

(2) A personality test using ink-blots

1927: The ink-blot based personality analysis was first published in codified form in 1927, the genesis of which was a 1921 paper by Swiss psychiatrist Hermann Rorschach (1885-1922).  Rorschach (Wahlkreis) is a constituency of the canton of Saint Gallen, Switzerland and Rorschach is its largest town.  The town lies on the Swiss side of Lake Constance, the construct of the name an early form of the German Röhr (reeds) + Schachen (lakeside).

The Rorschach test was for some time a standard clinical diagnostic tool in psychology & psychiatry.  It was a collection of ten “ink blots”, five rendered in grey scale, two in grey & red and three in color, all printed on separate cards and presented to the subjects who were asked (1) What might this mean? & (2) What parts of the card made you say that?  The usual protocol was to provide a pencil and have the subject write their responses in the space underneath the image although, depending on the circumstances, a clinician might engage with the subject and obtain more of their thoughts or the tests could immediately be taken for analysis.  Fond of jargon, the profession even took the opportunity to coin a word to describe specific responses, a subject thought to be especially demonstrative in their response to a Rorschach ink blot said to be exhibiting "extratensive" tendencies.  As an adjective it was thus a synonym of "extroverted" and is occasionally seen outside of psychology where it probably adds little but confusion.  It served also as a noun, the relevant subjects being labelled "extratensives".

Lindsay Lohan in Rorschach Ink-Blot Test inspired gold beaded cocktail dress at the Source Code premiere, Crosby Street Hotel, New York City, March 2011.  The dress was paired with black patent ankle strap platform pumps shoes and matching opaque tights.

The idea of using indeterminate and ambiguous shapes as a way of assessing an individual's personality had been around for centuries before Dr Rorschach began his research and in the nineteenth century there were even popular parlor games which used the idea although they were designed to amuse rather than analyze.  What made Dr Rorschach’s work different was the sheer quantity of the data with with he worked, his research encompassing some 300 patients in mental institutions (with a control group of 100 “normal” subjects) to whom to he exposed over 400 ink-blots before selecting the ten which had proved to be of the greatest diagnostic utility.  Although the method was not greatly different from the games, the Rorschach test was genuinely scientific in its design and the systematic approach linking impressionistic responses to ambiguous shapes, this producing evidence of certain tendencies.  Within the still embryonic psychiatric profession, his approach was thought novel and initially received little support.  His book (a 174-page monograph Psychodiagnostik (Psychodiagnostics)), when eventually published in 1921 contained the structure of the ink-blot tests and the results of the 300 patient survey yet it attracted more interest from intrigued literary reviewers than the medical journals and he died little more than a year after its release.  Even the appearance of reviews in the odd literary magazine however did little to stimulate appeal because the book was very much a work by a scientist for other scientists and Dr Rorschach had made no attempt to make his findings accessible to a general audience.  It wasn’t until the work was republished and others began to refine the methodology that others saw potential, especially after professional mathematicians added rigor to the statistical models used to generate the scores from which conclusions were drawn.

The Rorschach cards.

However, those who inherited the work also shifted the goal posts.  While Dr Rorschach had always intended the ink-blots to be only a helpful tool in the diagnosis of schizophrenia, such was the expansion of the profession in the inter-war years that many became interested and, by 1938, the test had been adapted and was being promoted as a kind of “personality testing kit”.  It was quite a departure from Dr Rorschach’s original vision which had been designed deliberately to maintain some ambiguity in the images, his belief that the diagnosis of schizophrenia lay in the margins between the possible responses whereas when used as a personality testing tool, the answers took on the character of a parameter which, when collectively assessed with the provided statistical tool, placed patients in categories.  The test in that form proved highly successful, its proliferation assisted by the demands of wartime and the military’s need for psychological testing, the Rorschach kit easily produced, more popular with subjects than many other methods and, as a piece of mathematics, able easily to be collated into the big data sets electronic machines were beginning to make possible.  It had that those qualities the military so adore: Speed, standardization and simplicity.  It was therefore by the mid 1940s a standard part of psychological testing, used in everything from job applications to assessing an inmate’s eligibility for parole so it was perhaps inevitable it would be applied to the defendants in the Nuremberg trial (1945-1946).  Even before the International Military Tribunal (IMT; which would conduct the trial) assembled, the authorities in charge of the Nazis in custody insisted on psychiatrists and psychologists being available as soon as the prisoners had been assembled.  There were a number of reasons for this, notably that they wanted to ensure the prisoners had the support necessary to dissuade them from attempting suicide and there was the need also to ensure all were mentally competent to stand trial.  Additionally, there was genuine curiosity about the Nazis because never had there been such an opportunity to subject to tests two-dozen odd who were responsible for what was becoming clear were the greatest crimes in history.  The question then, as now was: Are “normal ordinary people” able to be drawn to commit evil acts or are some people evil.

The famous astrophotograph of The Pillars of Creation in the Eagle Nebula of the Serpens constellation (taken by the Hubble Space Telescope on 1 April 1995) imagined as four Rorschach ink-blot cards.  The original is at the top, below is a rendering in greyscale and the lower two have different filters applied.

In 2022, the JWST (James Webb Space Telescope) was used to obtain a more detailed image of what was happening there some 7000 years ago and while the consensus among cosmologists was comething like “not much has appears to have changed in 27 years”, because the JWST captures in infrared, it was able to penetrate the dense dust, revealing embedded stars and internal structures Hubble (which captured only visible light) couldn’t see.  So much more detailed was the later image that the sharper edges of the clouds could be studied, providing insights into the interplay between the gas and stellar winds.

There is significance in some Rorschach inkblot plates including color while others are black-and-white and the use of color was a deliberate design choice by Hermann Rorschach as part of the “interpretative tool-set” used to assess a subject's responses.  Of the ten plate, cards 1, 4, 5, 6 & 7 are black & white, cards 2 & 3 include red & black while cards 8, 9 & 10 feature multiple colors, including pastels.  The notion was that color introduces emotional and affective complexity and it must be remembered that in this context, “black” & “white” also are “colors”.  According to Dr Rorschach, (1) black & white blots tend to elicit more structured, form-based, and cognitive responses, (2) red is often interpreted as a prompt for more emotional, aggressive, or stimulus-bound reactions and (3) the multi-colored blots test the subject's ability to integrate complex stimuli, including emotional nuance, conflict, or ambiguity.  The theory thus was color could be used to help assess (1) emotional responses, (2) impulsivity, (3) affective regulation and (4) cognitive integration.  What all that of course implied is that were the plates to be rendered in black (and thus rely on shape alone), outcomes and the validity of the test would be affected, most obviously because of the removal of stimuli which would make responses more form-focused, diminishing the utility of the test in differentiating certain traits, notably the interpretation of ambiguous affective signals.  This has been tested and researchers reported results became less rich and less diagnostic when color was removed.

PapaLeoArts take on the Rorschach in water colors.  This array should probably be thought a montage but there might be critics who would find definitional reasons why it's a collage.

In the ink-blots, Dr Rorschach used color selectively with some plates wholly black shapes on a white background, the allocation as critical to the integrity of the process as the shapes but once the test became well known, the ink-blots became pop-culture artefacts, reproduced on posters, T-Shirts, coffee mugs and anything else which might be packaged for sale.  Sometimes the color mix was retained in the original while others applied just about everything from the motifs of psychedelia to polka-dots.     

The Rorschach tests were of course only one of the tools the clinicians assigned to Nuremberg used and the conclusion drawn was that all defendants were sane in the sense they were "legally" sane and thus mentally competent to stand trial even if they were depressed psychopaths (that seemed to be the most common phrase).  Quite what part the tests played in this isn’t clear but the test results themselves assumed a life independent of the trial because of a dispute between the two clinicians most involved in the testing and it wasn’t until the 1990s they were (almost) all published.  This psychological time capsule proved irresistibly tempting for one of the US’s foremost Rorschach experts who over the years had assembled records which could be used as an extraordinarily diverse control group which included (in the hundreds) medical students, Unitarian ministers, psychology students, criminals, business executives and random patients from private practice.  From this were selected the clerics and psychiatric outpatients, the purpose of a comparison with the Nuremberg Nazis being a critique of a recently published analysis of the test results which had concluded the defendants (as individuals and a representatives of the whole Nazi hierarchy) were “cursed beyond redemption” and thus profoundly of “the other”.  Their work was not entirely conventional by accepted scientific standards and they tacitly acknowledged some of the long acknowledged limitations of the test but never wavered from their finding “…the Nazis were not psychologically normal or healthy individuals”.

Defendants in the dock, Palace of Justice, Nuremberg, 1945-1946.  The defendant in the front row at the far right of the photograph was Horace Greeley Hjalmar Schacht (1877–1970; president of the Reichsbank 1923-1930 & 1933-1939, general plenipotentiary for war economy 1935–1937 and Reichsminister without portfolio 1937-1943) and he secured an acquittal, which might seem surprising given the extent of his complicity in the Nazi re-armament programme but it did reflect the historic difficulties in securing the convictions of enablers of crime (accountants, lawyers, financiers etc) who are a step or more removed from the act(s) being prosecuted, a phenomenon which manifests still in many jurisdictions.  Of the accused, Dr Schacht was the only confessed Freemason but there's never been anything to suggest any of the IMT's eight judges had any connection with the cult.

The notion  “…the Nazis were not psychologically normal or healthy individuals” was as controversial a view in the 1990s as it had been fifty years earlier and if a blind test could not distinguish of the Nazi’s data from the two control groups, at least some doubt would be cast.  Accordingly, ten Rorschach experts were assembled and asked to assemble them into three groups.  All that did was identify the high, medium and low-functioning of each group but there was nothing in them which separated the Nazis.  That was interesting but what was probably definitive was that even when told the nature of the data, the experts were unable to discern any difference between the responses which would enable the Nazis to be identified.  Perhaps sadly, the Nazis may have been as ordinary as they appeared in the dock, the implication being we're all capable of evil, given the right temptation, a nod to an earlier memorable phrase spoken of them: "The banality of evil".  

As that might indicate, like many tests in psychology, the Rorschach is probably useful if its limitations are recognized and the interpretations thought valid decades ago are no longer treated as proven science.  For example there may be something which can be deduced from a subject assessing the whole image in their response which is different for one who picks just a section or who finds something different in different parts but whether there’s anything substantive in the difference between seeing moth and a butterfly may be dubious.  The test is still widely used although many have abandoned it though it’s famously a cult in Japan where it’s one of the profession’s standard tools.  Elsewhere use is mixed.  Interestingly, while the fourth edition of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM-IV (1994) did not endorse or recommend the use of any particular projective test, it did note many were used in clinical practice but cautioned that the validity and reliability of these tests had not been firmly established, urging caution.  Neither the DSM-5 (2013) nor DSM-5-TR (2022) make any reference to the Rorschach test.

Decalcomania

Decalcomania (pronounced dih-kal-kuh-mey-nee-uh or dih-kal-kuh-meyn-yuh)

(1) The process of transferring designs from specially prepared paper to cardboard, paper, wood, metal, china, glass etc.

(2) A design so transferred (always rare).

1864: From the French décalcomanie, the construct being décalc- (representing décalquer (to trace, transfer (a design)) the construct being dé- (in the sense of “off”) + calquer (to press) + the interfix “-o-” + -manie (–mania).  Decalcomania is a noun; the noun plural is decalcomanias (the plural in French was decalcomania).  Disappointingly, the noun decalcomaniac is non-standard.

The French prefix dé- partly was inherited from the Middle French des-, from the Old French des-, from a conflation of Latin dis- (apart) (ultimately from the primitive Indo-European dwís).  In English, the de- prefix was from the Latin dē-, from the preposition dē (of, from (the Old English æf- was a similar prefix)).  It imparted the sense of (1) reversal, undoing, removing, (2) intensification and (3) derived from; of off.  In French the dé- prefix was used to make antonyms (as un- & dis- function in English) and was partially inherited from the Old and Middle French des-, from the Latin dis- (part), the ultimate source being the primitive Indo-European dwís and partially borrowed from Latin dē-.  In English de- became a most active word-forming element, used with many verbs in some way gained French or Latin.  The frequent use in Latin as “down, down from, from, off; down to the bottom & totally (hence “completely” (intensive or completive)) came to be reflected in many English words.  As a Latin prefix it was used also to “undo” or “reverse” a verb's action; it thus came to be used as a pure privative (ie “not, do the opposite of, undo”) and that remains the predominant function as a living prefix in English such as defrost (1895 and a symbol of the new age of consumer-level refrigeration), defuse (1943 and thus obviously something encouraged by the sudden increase in live bombs in civilian areas which need the fuses to be removed to render them safe) and de-escalate (1964, one of the first linguistic contributions of the political spin related to the war in Vietnam).  In many cases, there is no substantive difference between using de- or dis- as a prefix and the choice can be simply one of stylistic preference.  Calquer (to press) was from the Italian calcare, from the Latin calcāre (to tread on; to press (that sense derived from calx (heel)).

The suffix –mania was from the Latin mania, from the Ancient Greek μανία (mania) (madness).  In modern use in psychiatry it is used to describe a state of abnormally elevated or irritable mood, arousal, and/or energy levels and as a suffix appended as required.  In general use, under the influence of the historic meaning (violent derangement of mind; madness; insanity), it’s applied to describe any “excessive or unreasonable desire; a passion or fanaticism” which can us used even of unthreatening behaviors such as “a mania for flower arranging, crochet etc”.  As a suffix, it’s often appended with the interfix -o- make pronunciation more natural.  The use of the suffix “-mania” in “decalcomania” may appear a curious use of an element in a word describing a process in graphical or decorative art given usually it’s appended to reference a kind of obsession or madness (kleptomania, bibliomania, megalomania et al) but here it’s used in a more abstract way.  The “-manie” in the French décalcomanie was used to suggest a fad or craze (the latter in the sense of something suddenly widely popular) and was not related to the way “mania” is used by mental health clinicians.  So, it was metaphorical rather than medical rather as “Tulipmania” came to be used of the seventeenth century economic bubble in the Netherlands which was centred on the supply of and demand for tulip bulbs.

TeePublic’s Lindsay Lohan decals (page one).

The noun decal (pronounced dee-kal or dih-kal) was in use by at least 1910 as a clipping of decalcomania, a process which came into vogue in France as early as the 1840s before crossing the channel, England taking up the trend in the early 1860s.  As a noun it referred to (1) the prepared paper (or other medium) bearing a image, text, design etc for transfer to another surface (wood, metal, glass, etc) or (2) the picture or design itself.  The verb (“to decal” and also as decaled or decaling) described the process of applying or transferring the image (or whatever) from the medium by decalcomania.  The noun plural is decals.  In the US, the word came to be used of adhesive stickers which could be promotional or decorative and this use is now common throughout the English speaking world.  The special use (by analogy) in computer graphics describes a texture overlaid atop another to provide additional detailing.

Variants of the transfer technique which came to be called decalcomania would for centuries have been used by artists before it became popularized in the mid-eighteenth century.  The method was simply to spread ink or paint onto a surface and, before the substances dried, it was covered with material such as such as paper, glass, or metallic foil, which, when removed, transferred the pattern which could be left in that form or embellished.  Originally the designs were deliberate but the innovation of the Surrealists was to create imagery by chance rather than conscious control of the materials.  The artistic merits of that approach can be discussed but young children have long taken to it like ducks to water, splashing colors on one side of a piece of paper and then folding it in half so, once pressed together, the shape is “mirrored”, creating what is called a “butterfly print”, something like the cards used in the Rorschach tests.

Although an ancient practice, it is French engraver Simon François Ravenet (1706–circa 1774) who is crediting with give the technique its name because he called it décalquer (from the French papier de calque (tracing paper) and this coincided with painters in Europe experimenting with ink blots to add “accidental” forms of expression into their work.  Ravenet spent years working in England (where usually he was styled Simon Francis Ravenet) and was influential in the mid century revival of engraving although it was in ceramics decalcomania first became popular although the word didn’t come into wide use until adopted by the Spanish-born French surrealist Óscar Domínguez (1906–1957).  It was perhaps the German Dadaist and Surrealist Max Ernst (1891–1976) who more than most exemplified the possibilities offered decalcomania and it was US philosopher turned artist Robert Motherwell (1915–1991) who said of him: “Like every consequential modern painter, Max Ernst has enforced his own madness on the world.”  Motherwell was of the New York School (which also included the Russian-born Mark Rothko (1903–1970), drip painter Jackson Pollock (1912-1956) and the Dutch-American Willem de Kooning (1904–1997)) so he was no stranger to the observation of madness.  Condemned by the Nazis variously as an abstractionist, modernist, Dadaist and Surrealist, Ernst fled to Paris and after the outbreak of World War II (1939-1945) he was one of a number of artistic and political figures who enjoyed the distinction of being imprisoned by both the French and the Gestapo; it was with the help of US art patron and collector Peggy Guggenheim (1898–1979) he in 1941 escaped Vichy France and fled to the US.

That “help” involved their marriage, hurriedly arranged shortly after the pair landed in New York but although in the technical sense a “marriage of convenience”, she does seem genuinely to have been fond of Ernst and some romantic element wasn’t entirely absent from their relationship although it’s acknowledged it was a “troubled” marriage. A divorce was granted in 1946 but artistically, she remained faithful, his work displayed prominently in her New York gallery (Art of This Century (1942–1947)), then the city’s most significant centre of the avant-garde.  Through this exposure, although he never quite became integrated into the (surprisingly insular) circle of abstract expressionists, Ernst not only became acquainted with the new wave of American artists but contributed also to making European modernism familiar to Americans at a time when the tastes of collectors (and many critics) remained conservative.  He was an important element in her broader mission to preserve and promote avant-garde art despite the disruption of war.  So, the relationship was part patronage and part curatorial judgment and historians haven’t dwelt too much on the extent it was part love; even after their divorce, Guggenheim continued to collect pieces by Ernst and they remain in her famous “Venice Collection” at the Palazzo Venier dei Leoni.  As a wife she would have had opinions of her husband but as a critic she also classified and never said of Ernst as she said of Pollock: “...the greatest painter since Picasso.”

Untitled (1935), Decalcomania (ink transfer) on paper by André Breton.

For Ernst, the significance of decalcomania was not its utility as a tool of production (as it would appeal to graphic artists and decal-makers) but as something which would result in a randomness to excite his imagination.  What he did was use the oil paint as it ended up on canvas after being “pressed” as merely the starting point, onto which he built elements of realism, suggesting often mythical creatures in strange, unknown places but that was just one fork of decalcomania, Georges Hugnet (1906–1974) rendering satirical images from what he found while André Breton (1896–1966 and a “multi-media” figure decades before term emerged) used the technique to hone surrealism, truly decalcomania’s native environment.

Decalcomania in psychiatry and art: Three of the ink-blot cards (top row) included by Swiss psychiatrist Hermann Rorschach (1885-1922) in his Rorschach Test (1927), a projective psychological tool in which subjects' perceptions of inkblots are recorded and then analyzed with psychological interpretation or historical statistical comparison (and now, also AI (artificial intelligence)) and three images from the Pornographic Drawing series by Cornelia Parker (bottom row).

Nor has decalcomania been abandoned by artists, English installation specialist Cornelia Parker (b 1956) producing drawings which overlaid contemporary materials onto surfaces created with the decalcomania process, the best known of which was the series Pornographic Drawing (1996) in which an inky substance extracted from pornographic film material was applied to paper, folded in half and opened again to reveal the sexualised imagery which emerged through the intervention of chance.  Although it’s speculative, had Ms Parker’s work been available and explained to the Nazi defendants at the first Nuremberg Trial (1945-1946) when they were considering the Rorschach Test cards, their responses would likely have been different.  Rudolf Hess (1894–1987; Nazi Deputy Führer 1933-1941) would have been disgusted and become taciturn while Julius Streicher (1885–1946; Nazi Gauleiter of Franconia 1929-1940) would have been stimulated to the point of excitement.

Europe after the Rain II, 1940-1942 (Circa 1941), oil on canvas by Max Ernst.

Regarded as his masterpiece, Europe after the Rain II (often sub-titled “An Abstract, Apocalyptic Landscape”) was intended to evoke feelings of despair, exhaustion, desolation and a fear of the implications of the destructive power of modern, mechanized warfare.  It was a companion work to an earlier to the earlier Europe after the Rain I, (1933), sculpted from plaster and oil on plywood in which Ernst built on a decalcomania base to render an imaginary relief map of Europe.  It was in 1933 Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) gained power in Germany.

Europe after the Rain I, (1933), oil & plaster on plywood by Max Ernst.

Even the physical base of Europe After the Rain I was a piece of surrealist symbolism, the plywood taken from the stage sets used for the film L'Âge d'or (1930) (The Age of Gold or the Golden Age depending on the translator's interpretation).  Directed by Spaniard Luis Buñuel (1900-1983), L'Âge d'or was a film focused on the sexual mores of bourgeois society and a critique of the hypocrisies and contradictions of the Roman Catholic Church's clerical establishment.  While one of France's first "sound films", it was, as was typical during what was a transitional era, told mostly with the use of title cards, the full-screen explanatory texts which appeared between scenes.

Snow Flowers (1929) oil on canvas by means of frottage & grattage by Max Ernst.

Technically, Ernst was an innovator in Decalcomania, in 1925 using the technique of frottage (laying a sheet of paper over a textured surface and rubbing it with charcoal or graphite).  The appeal of this was it imparted the quality of three dimensionality and Ernst liked textured surfaces as passages in a larger composition.  He also employed grattage (frottage’s sister technique) in which an object is placed under a piece of paper, which is then covered with a thin layer of pigment and once the pigment is scraped off, what is revealed is a colorful imprint of the object and its texture.

1969 Chrysler (Australia) VF Valiant Pacer 225 (left), 1980 Porsche 924 Turbo (centre) and cloisonné Scuderia Ferrari fender shield on 1996 Ferrari F355 Spider (right).

There was a time when decals or cars were, by some, looked down upon because they were obviously cheaper than badges made of metal.  That attitude changed for a number of reasons including their use on sexy, high-performance cars, the increasing use of decals on race cars after advertising became universally permitted after 1968 and the advent of plastic badges which, being cheaper to produce and install, soon supplanted metal on all but the most expensive vehicles.  By the mid 1970s even companies such as Porsche routinely applied decals and the Scuderia Ferrari fender shield, used originally on the cars run by the factory racing team, became a popular after-market accessory and within the Ferrari community, there was a clear hierarchy of respectability between thin, “stuck on” printed decals and the more substantial cloisonné items.

A video clip explaining why a Scuderia Ferrari fender shield costs US$14,000 if it's painted in the factory.

However, many of the cloisonné shields were non-authentic (ie not a factory part number), even the most expensive selling for less than US$1000 and there was no obvious way to advertise one had a genuine “made in Maranello” item.  Ferrari’s solution was to offer as a factory option a decalcomania, hand-painted by an artisan in a process said to take about eight hours.  To reassure its consumers (keen students of what the evil Montgomery Burns (of The Simpsons TV cartoon series) calls “price taggery”), the option is advertised (depending on the market) at around US$14,000.

Newmanesque

Newmanesque (pronounced new-min-esk)

The feelings of wonderment, awe, fear and enchantment induced in one when looking to the stars.

1860: From the writings of Cardinal Saint John Henry Newman (1801-1890), the construct being Newman + esque.  The -esque suffix was from the French -esque (-ish, -ic, -esque), from the Italian -esco, from the Latin -iscus, of Germanic origin, from the Lombardic -isc (-ish), from the Proto-West Germanic -isk, from the Proto-Germanic -iskaz (-ish), from the primitive Indo-European -iskos.  It was cognate with the Old High German -isc (from which German gained -isch), the Old English –isċ, the Old Norse –iskr and the Gothic -isks.   It was appended to nouns (particularly proper nouns) to form adjectives in the sense of (1) resembling or tending towards and (2) in the style or manner of.  English picked up the suffix directly as –ish; the -esque suffix technically means a stronger association than -ish or -ite but is often anyway preferred for literary effect.   

Cardinal Saint John Henry Newman (1801-1890).

John Henry Newman was a poet and theologian, first an evangelical Anglican priest (albeit one gradually assuming a higher ecclesiastical tone) who later, despite having once described the Roman church as "…polytheistic, degrading and idolatrous" became a Roman Catholic cardinal.  This appears to have happened because Newman the younger became haunted by the fourth century words of Saint Augustine of Hippo (354–430), Securus judicat orbis terrarum!, usually translated by scholars as “the verdict of the world is conclusive” and by theologians as “wherefore the entire world judges out of security, they are not good who separate themselves from the entire world, in whatever part of the entire world”.

To structuralists, it means “it is good to keep the sinners in our midst if this is the way we may convert them”.  Newman dwelt on this for some time, an indication it’s not good for impressionable souls to read Augustine, Emily Brontë (1818–1848) or Friedrich Nietzsche (1844–1900) at too young an age.  Among the laity, Newman is most remembered for what’s called the newmanesque or the newmanist: the sense of awe wonderment even atheists might feel when gazing at the heavens.  In July 2019, Pope Francis (b 1936; pope since 2013) announced at a Consistory of Cardinals (a formal meeting of the College of Cardinals which a pope can convene at any time and known within the Vatican as “a conspiracy of cardinals”) that Newman would be created a saint and his canonisation was formally announced on 13 October, thus becoming the first English saint since the seventeenth century.  It’s a long process: Newman was proclaimed "Venerable" by the Congregation for the Causes of Saints in 1991 and was beatified in 2010.  Canonisation was the final step.

The Newmanesque; some get it and some don't: Lindsay Lohan (left) and Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011) (right).

The Newmanesque: Look back in awe

Hubble Space Telescope Image NGC 6302 (butterfly nebula), 27 July 2009.

Image NGC 6302, commonly called the butterfly nebula, was taken by the Hubble telescope on 27 July 2009.  Something of a celestial Rorschach test card, cosmic reality belies the delicate appearance of this butterfly, those fragile-looking wings actually boiling cauldrons of gas, swirling at some 36,000^o F (20,000^o C) and travelling through space at 600,000 mph (960,000 km/h), fast enough to travel between earth and the moon in little more than twenty minutes.  The butterfly is in our Milky Way galaxy, some 3800 light-years distant in the constellation of Scorpius, the glowing gas the star’s outer layers, expelled over two millennia, the wingspan more than two light-years across.

At the centre lies a dying star once five times the mass of the Sun but, with its envelope of gases ejected, it’s now unleashing the stream of ultraviolet radiation that gives the cast-off material its glow.  The central star can’t be seen because of the surrounding thick belt of dust which constricts its outflow, creating the classic “bipolar” or hourglass shape shared with many planetary nebulae.  The data from Hubble do however allow scientists to construct a picture with the surface temperature estimated to be over 400,000^o F (220,000^o C), making it one of the Milky Way’s hotter stars.  Before losing the extended outer layers, the star had evolved into a red giant, with a diameter a thousand times that of the Sun, some of the cast-off gas creating the doughnut-shaped ring while other gas was ejected perpendicular to the ring at higher speeds, producing the butterfly’s elongated wings.  Later, as the star heated, a faster stellar wind (a stream of charged particles), ploughed through the structure, again modifying the shape.