Serpent

Serpent (pronounced sur-puhnt)

(1) A literary or dialect word for snake.

(2) A wily, treacherous, sly, deceitful, unscrupulous or malicious person.

(3) In the Old Testament, a manifestation of Satan as a guileful tempter (Genesis 3:1–5).

(4) A firework that burns with serpentine motion or flame.

(5) An obsolete wooden wind instrument, bass form of the cornet, with a serpentine shape and a deep, coarse tone.

(6) In astronomy (with initial capital letter), the constellation Serpens.

1250-1300: From Middle English and Middle French, from the Latin serpent (stem of serpēns (a creeping thing)).  Latin root was serpentem (nominative serpens) from serpere (to creep), related to the Greek herpein (to crawl) and herpeton (serpent).  In Old French, sarpent was used interchangeably for snake and serpent as was does in the Sanskrit sarpati and the Albanian garper.  The figurative use dates from its early days, influenced by the Biblical association with Satan while the use to express spiral or sinuous shapes (such as the musical instrument) was first noted in 1730.  Use of the phrase “serpent's tongue” as figurative of venomous or stinging speech is from mistaken medieval notion that the serpent's tongue was its sting and name was also given to fossil shark's teeth circa 1600; use faded as scientific techniques improved.  Serpent is a noun & verb, serpentine is a noun, verb & adjective and serpentlike is an adjective; the noun plural is serpents.

The serpent and the downfall of man

Serpents appear frequently in the Bible.  In Exodus, sticks become snakes and the devil appears in serpent form in Psalms, Genesis and Revelation.  Leviathan is a serpent in Isaiah and a sea-going beast exists in Amos and the prophet Jeremiah compares, perhaps unfairly, the King of Babylon to a serpent.  The word viper is used as a term of disparagement by both John the Baptist and Jesus although the latter also expresses the Hebrew notion of serpents as symbols of wisdom.  Best known is when, in the Old Testament (Genesis 3:1-20), it’s a serpent slithering around the Garden of Eden which tempts Eve to taste the forbidden fruit of the Tree of Knowledge of Good and Evil.

The Garden of Earthly Delights (circa 1505), a triptych in oil on oak panels by Hieronymus Bosch (c 1450-1516), Museo del Prado, Madrid. 

The fruit has always attracted interest.  It was in the early texts only ever described as forbidden "fruit" but centuries of speculation followed discussing which fruit the serpent may have chosen; most popular has always been the apple but suggestions have included grapes, figs, dates, pomegranates, bananas and even psychoactive mushrooms.  Because of the nature of the allegory in the Book of Genesis, the banana is probably the most obviously tempting of fruits to link to the tale and during the Middle Ages the notion appeared in several places.  In 1277, Nathan HaMe’ati translated the Pirkei Moshe (The Medical Aphorisms of Moses) by influential medieval Sephardi Jewish philosopher and Torah scholar Maimonides (1138–1204) from Arabic into Hebrew.  In the section detailing the medicinal effects of the banana HaMe’ati calls it the “apple of Eden”, a use echoed by the sixteenth-century Rabbi Menachem de Lonzano, in his Ma’arich (a work explaining foreign words in rabbinic literature), who documented the banana as a well-known fruit in Syria and Egypt known to the Arabs as “the apple of Gan Eden”.  Today, some bananas are known by the Latin names Musa paradisiaca (fruit of paradise) and Musa sapientum (fruit of knowledge).  Identifying the Tree of Knowledge with the banana appears to be a Christian tradition from at least the twelfth century that enjoyed popularity but was never adopted by rabbinic sources.  So it tends still to be the apple which is most associated with the tree but were a modern translator to seek a younger audience, they might be tempted by cherries.  Theologically, it’s sterile speculation, the type of fruit mattering not at all.  The purpose of the allegory is to explain (1) there are consequences if one disobeys God, (2) that all are guilty of sin and (3), the downfall of mankind was all Eve’s fault.  From this came the orthodoxy which has for two thousand years sustained the Church: "Everything bad is the fault of women". 

Not wholly improbable as an Eve for the third millennium, while on holiday in Thailand, just after Christmas 2017, Lindsay Lohan was bitten by a snake and while said to have made a full recovery, there was never any word on fate of serpent.  The syndicated story on the internet attracted comment from the grammar Nazis who demanded it be verified the snake really was on holiday in Thailand.

Cockatrice

Cockatrice (pronounced kok-uh-tris)

(1) A mythological monster, hatched supposedly by a serpent from the egg of a rooster and thus represented usually with the head, legs, and wings of a rooster, atop the body and tail of a serpent; the alternative name was basilisk.  Depicted usually as being the size and shape of a dragon or wyvern but with some lizard-like characteristics, if so minded it could kill with just a glance and could be slain only by tricking it into seeing its own reflection.  A young cockatrice was a chickatrice.

(2) In the Bible, a venomous serpent.

(3) Figuratively, a mistress; a harlot (obsolete).

(4) Figuratively, a mistress; (obsolete).

(5) Figuratively, any venomous or deadly thing (obsolete).

(6) The cobra (the common name of a number of venomous snakes, most of which belong to the genus Naja) (contested).

1382: From the Middle English cocatrice, from the Middle French cocatris, from the Old French cocatriz, from the Medieval Latin plural form caucātrīces & the unattested Latin calcātrīx (she who treads upon something), the feminine of the unattested calcātor (tracker), the construct built from calcō (tread) or calcā(re) (to tread) (a verbal derivative of calx (heel)) + -tor (the agent suffix).  The Latin was a direct translation of the Greek word ichneúmōn or ikhneúmōn which carried the same meaning.  Cockatrice is a noun; the noun plural is cockatrices.

The origin of the cockatrice certainly in ancient and frightening & fantastic beasts are common in the fables of many cultures but the one closest in appearance is thought to be one from the legends of Ancient Egypt, the mortal enemy of the crocodile, which it tracks down and kills.  In the way stories became mangled & tangled as they travelled between languages and across borders, in the Christian West, the cockatrice became conflated with the basilisk (a fire-breathing, snake-like dragon also with a murderous glance).  In the medieval era, such morphing was not uncommon and the popular association with a cock led to the legend the creature was born of a serpent, hatched from a cock's egg although there’s little to suggest there was much of a link with crocodile.  The connection with serpents persisted and it appears several times in the King James Version (KJV, 1611)) of the Bible, used to translate a Hebrew word meaning “serpent”.  In heraldry, it was used as a rampant, a beast half cock, half serpent and in slang it was used from the late sixteenth century to mean “a woman of loose virtue; a harlot”, an indication men are never short of sources when searching for ways to disparage women.  Etymologists note frequent references to “cockatrice” being a words used to describe the cobra, presumably because of the snake’s unusual hooded head and its habit of rearing up and “staring” but there appears to be scant evidence of actual use.

Lindsay Lohan and her lawyer in court, Los Angeles, December, 2011.

The cockatrice appears in the Christian Bible’s Old Testament (Isaiah 11:5-11; King James Version (KJV, 1611)):

5. And righteousness shall be the girdle of his loins, and faithfulness the girdle of his reins.

6 The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them.

7. And the cow and the bear shall feed; their young ones shall lie down together: and the lion shall eat straw like the ox.

8. And the sucking child shall play on the hole of the asp, and the weaned child shall put his hand on the cockatrice' den.

9. They shall not hurt nor destroy in all my holy mountain: for the earth shall be full of the knowledge of the LORD, as the waters cover the sea.

10. And in that day there shall be a root of Jesse, which shall stand for an ensign of the people; to it shall the Gentiles seek: and his rest shall be glorious.

11. And it shall come to pass in that day, that the Lord shall set his hand again the second time to recover the remnant of his people, which shall be left, from Assyria, and from Egypt, and from Pathros, and from Cush, and from Elam, and from Shinar, and from Hamath, and from the islands of the sea.

Isaiah was the first of the Latter Prophets in the Hebrew Bible and the first of the Major Prophets in the Christian Old Testament.  In Isaiah 11, the prophet is describing to his listeners the nature of the world during the rule of a mysterious future king of Israel.  This king’s rule will be global, over the earth, men & animals and all beasts, prey & predator, will lie down together and eat together, all without bloodshed or death; in peace, together shall they live.  To illustrate how different will be this paradise, Isaiah says both the baby and the young child safely ill play surrounded by deadly, venomous snakes and be safe even from a cockatrice.  Readers were free to interpret the verse literally as an imagining the very nature of animals will change under this rule or, metaphorically, that the new regime of the Messiah's kingdom will usher in what would now be called a “new world order”, one in which all nations and peoples peacefully co-exist.  Isaiah needs to be read in conjunction with the Book of Revelation which says at the very end of history, in the new heaven and new earth, there will be no more death, mourning, crying, or pain and all wickedness will be banished from the Earth.

William Shakespeare (1564–1616) lived in the England of the Elizabethan age, a time when the cockatrice was a fixture in popular culture and he used references to the mythological beast and its ability to kill with just a glance or as Shakespeare would put it, its “death-darting eye”, having the duchess in Richard III (1594) say in Act 4, Scene 1:

O ill-dispersing wind of misery!
O my accursèd womb, the bed of death!
A cockatrice hast thou hatched to the world,
Whose unavoided eye is murderous.

Crooked Hillary Clinton: How Shakespeare would have imagined “death-darting eyes”.

He returned to the allusion in Act 3, Scene 2 of Romeo and Juliet (1597) in the words of the doomed Juliet:

What devil art thou that dost torment me thus?
This torture should be roared in dismal hell.
Hath Romeo slain himself? Say thou but 'Ay,'
And that bare vowel 'I' shall poison more
Than the death-darting eye of cockatrice.
I am not I if there be such an 'I,'
Or those eyes shut that make thee answer 'Ay.'
If he be slain, say 'Ay,' or if not, 'No.'
Brief sounds determine of my weal or woe.

From before Antiquity to the horror films of the twenty-first century, fantastical beasts have often appeared and while most have been created to frighten, some have been more whimsical, such as the Jabberwock which first appeared in the nonsense poem Jabberwocky, written by Lewis Carroll (1832–1898) and included in Through the Looking-Glass (1871), the sequel to Alice's Adventures in Wonderland (1865).  The poem was about the killing of the fearsome Jabberwock and is part of what makes the two books among the most enjoyable in English literature but in literary theory “jabberwocky” has also been co-opted to mean “a form of nonsense; unintelligible speech or writing”, the connection illustrated by one fragment from the poem:

'Twas brillig, and the slithy toves

Did gyre and gimble in the wabe:

All mimsy were the borogoves,

And the mome raths outgrabe.

The author helpfully had Humpty Dumpty say that brillig means “four o'clock in the afternoon - the time when you start broiling things for dinner” but generally allowed his readers to make of the words what they will which probably was the best approach.  Alice in Wonderland was fun but those who followed would make linguistic gymnastics something else and James Joyce’s (1882–1941) Finnegans Wake (1939) was no fun for most although Anthony Burgess (1917-1993) claimed to find “a laugh on just about every page” and for A Clockwork Orange (1962) created his own slang argot, derived from a number of linguistic traditions.  As far as is known, Joyce never discussed jabberwocky but Burgess acknowledged the debt.  Other famous beasts include the leviathan & behemoth.  The leviathan was a truly massive sea creature rooted in ancient Middle Eastern and biblical texts, portrayed typically as a monstrous sea serpent or dragon, representing the primal forces of chaos and the ocean.  The behemoth was also of biblical origin and described generally as a massive, earth-bound beast, often symbolizing power and strength, thus the frequent use of the ox as an image, the creature dominating the land as the leviathan does the oceans.

Behemoth: 2020 Freightliner M2-106 in silver over black leather upholstery with alligator-hide inserts and timber trim, modified by Western Hauler, Fort Worth, Texas.

The big (and in recent decades they have got very big) US pick-up trucks appals some sensitive souls who sometimes damn the things as “behemoths” but for those for whom even they weren’t big enough, there were companies which would add enough bling to the first generation (2003-2023) of the Freightliner M2 medium-duty truck to some actually bought the things for private use.

The very clever and deliciously wicked English philosopher Thomas Hobbes (1588-1679) used leviathan and behemoth as metaphors to explore concepts of social and political power in his works, especially in his famous book Leviathan (1651) and the lesser-known Behemoth (published posthumously in 1682), each creature deployed as a literary device to symbolize different forms of political structures and conflicts.  In Leviathan, the sea creature represented strong, centralized government or sovereign power, the state which Hobbes regarded as not merely desirable but essential.  He envisioned society as a “body politic” in which all individuals come together under a single, absolute authority to escape the chaos of the natural state, which Hobbes described in his most memorable phrase: “solitary, poor, nasty, brutish, and short.”  The Leviathan represented the overarching power of the sovereign, something necessary to maintain order and peace, a vision of a government which could (and should) act decisively to suppress internal conflicts and keep external threats at bay, making it at once a protector and potentially an oppressor; little wonder then Leviathan has been found on the bookshelf of more than one overthrown tyrant.  In Behemoth, Hobbes used the monster of the land when describing the chaotic and destructive nature of civil war, focusing specifically focusing the English Civil Wars of the seventeenth century and the theme of the book was the way parties and political factions and ideologies can tear a society apart.  Unlike the stabilizing leviathan, behemoth represents the forces of disorder and division that arise when people reject central authority and plunge into conflict.  It’s a cautionary tale, a warning that when men live in a society lacking a unifying authority, things will devolve into factionalism, chaos and political instability, the final result something like the “state of nature” in which life descended to something “solitary, poor, nasty, brutish, and short.”.

Biscione

Biscione (pronounced bisch-sho-nee)

Pre 1100: An Italian word, the construct being bisci(a) (snake) +‎ -one (the augmentative suffix).  Biscione is a masculine augmentative of the Italian feminine noun biscia (grass snake, a corrupted form of the Late Latin & Vulgar Latin bīstia), from bēstia (beast) of unknown origin.  Biscione is a noun; the noun plural biscioni (used in English also as bisciones).

(1) In heraldry, a heraldic device consisting of a large snake “giving birth” to a child through its mouth (not devouring the infant as it may appear).

(2) A surname of Italian origin.

The Biscione is known also as the vipera (viper) and in the Milanese dialect as the bissa.  In heraldry, the symbol is used as a charge (any emblem or device occupying the field of an escutcheon (shield)), over Argent (a tincture of silver which appears usually as a shade of white) and often in Azure (a range of blue).  The snake is depicted in the act of “giving birth” to a human through its mouth and while anatomically improbable, it was doubtless always understood and something symbolic.  Historically, what emerged was depicted as a child but in the more sensitive twentieth century this tended to be blurred into something recognizable merely as “human of no distinct age or gender”.  It has been the emblem of the Italian Visconti family for almost a millennium.

A biscione used by the Visconti family on their crest and coat of arms.

The origins of the symbol are obscure but there are the inevitable (and of the fanciful) medieval tales including that it was (1) taken as a prize of war from a standard or shield of a Saracen killed by Ottone Visconti (1207–1295; Archbishop of Milan 1262-1295 and the founder of the Visconti dynasty) during the Barons' Crusade (1239-1241) or (2) to honor Ottone Visconti for having killed the drake Tarantasio, an enormous snake which dwelled in Milan’s now vanished Lake Gerundo and ate the local children; the serpent feared also because its venomous breath polluted the water and made men ill.  Less bloodthirsty (and thus less popular) is the story it all began with a bronze souvenir in the shape of a serpent, brought to the city from Constantinople (modern-day Istanbul in the Republic of Türkiye) by Arnolf II of Arsago (circa 950-1018; Archbishop of Milan 998-1018).  It’s said the archbishop used the symbol wisely during the episcopate and it became so associated with Milan the city and its citizens embraced its use.  Most prefer the tale from the thirteenth century Crusade and it would explain why the child was often said to be “a moor”.

Although it’s not thought related, serpents have much occupied the minds of those in Christendom, notably the one coiled around the lush foliage in the Garden of Eden who tempted Eve with forbidden fruit, her weakness leading to the downfall of mankind and our eternal sin, thus establishing one of the central tenants of the Church: Women are to blame for everything bad.  There’s also a reference to beasts and a new-born child about to be devoured in the vivid imagery of chapter 12:1-4 in the New Testament’s Book of Revelation (King James Version (KJV, 1611)):

1 And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars:

2 And she being with child cried, travailing in birth, and pained to be delivered.

3 And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads.

4 And his tail drew the third part of the stars of heaven, and did cast them to the earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born.

Not wholly improbable as an Eve for the third millennium, while on holiday in Thailand, just after Christmas 2017, Lindsay Lohan was bitten by a snake and while said to have made a full recovery, there was never any word on fate of serpent.  The syndicated story on the internet attracted comment from the grammar Nazis who demanded it be verified the snake really was taking a Thai  holiday.

Alfa Romeo and the biscione

Alfa Romeo Automobiles SpA is based in the northern Italian city of Turin and for much of the twentieth it wrote an illustrious history on road and track before losing its way in the 1980s; it’s now one of the fourteen brands under the corporate umbrella of the multinational Stellantis (headquartered (for various reasons) in the Netherlands).  Alfa Romeo was founded in 1910 as A.L.F.A. (Anonima Lombarda Fabbrica Automobili (which translates literally as “the Anonymous car company of Lombardy”).  It was in 1915 A.L.F.A. was acquired by Italian Engineer Nicola Romeo (1876–1938) who in 1920 added his name and turned the company into an industrial conglomerate encompassing not only passenger & racing cars but also a product range as diverse as heavy machinery, aero engines and a bus & truck division.

Biscione bas relief, Piazza Duomo Oggiaro, Milan.

The Anonima (anonymous) was a reference to the legal structure of a “Società anonima” (S.A) which designated a class of limited liability company, a common device still in countries which have maintained the traditions of the Code Napoléon (the codified Napoleonic civil law (1804)).  Originally, it provided for shareholders remaining anonymous and able to collect dividends by surrendering coupons attached to their share certificates in an “over-the-counter” transaction, paid to whoever held the paper.  The attraction was the certificates could be transferred in secret and thus nobody (not the company management nor the regulatory authorities) necessarily knew who owned the shares.  That system was obviously open to abuse and abuse there was, tax evasion, money laundering, related party transactions and bribery soon rife, prompting governments to legislate and while SAs and the later SpAs (Società per azioni, most accurately translated as “joint-stock company”) no longer offer shareholders the same degree of anonymity, devices such as intricate structures made up of trusts, and holding companies can be used to at least obscure the identities of ultimate beneficiaries.  The tradition of concealment continues in many places, including common law jurisdictions in which the Code Napoléon was never part of the legal system.  Some are more helpful than others and although, despite the urban myth, it’s apparently never been possible to turn up at the counter of the famously “flexible” Delaware Division of Corporations and register an entity as being owned by "M. Mouse, D. Duck & E. Bunny", the US state is said still to be “most accommodating”.

Whether true or not, the industry legend is the Alfa Romeo logo was adopted because high on the wall of the Filarete Tower in Milan’s Piazza Castello were mounted several heraldic interpretations of the Biscione Visconteo, the coat of arms of the city of Milan and of the Visconti family which first ruled it in 1277 when Ottone Visconti assumed the Dominium Mediolanense (Lordship of Milan).  Late in 1910, waiting for the No. 14 tram to arrive for his journey home, was a draftsman from the A.L.F.A. design office and he was so taken with the symbol he sketched the first take of the corporate logo which remains in use to this day.  The biscione and a representation of Milan's official flag (a red cross on a white background) are the two elements which have remained constant in all nine version of the logos used in the last 115 years-odd.

The Alfa Romeo logo since 1910.

The original (1910-1915) version featured a biscione (either devouring or producing a child, Moor or Ottoman Turk (depending on which legend one prefers)) while the crown on the snake's head functioned to distinguish the official Milanese symbol from that used by the Visconti family for various escutcheons while the words ALFA at the top and MILANO at the bottom were separated by two figure-eight "Savoy Knots," a symbol of the royal House of Savoy, a branch of which reigned in Italy between unification in 1861 and the abolition of the monarchy in 1946.  The “Romeo” name was appended in 1920, reflecting the change in the corporate identity and in 1925, a gold laurel leaf surround was added to commemorate the Alfa Romeo P2’s victories in the European Grand Prix at Circuit de Spa-Francorchamps in Belgium and the Italian Grand Prix at Monza.

Alfa Romeo Typo 158s (Alfetta), 1950 British Grand Prix, Silverstone Circuit, England, May 1950.  The Alfettas finished 1-2-3.

When by referendum, the Italian people voted to establish a republic (the monarchy tainted by its support for the fascist regime (1922-1943) of Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943)), the knots from royal regalia were replaced by some nondescript waves but more obvious was the switch from the multi-color design to a simple gold-on-black, a change necessitated by the damage the country’s industrial capacity had suffered during the war, one victim of which was the factory producing the badges.  The simplified version was short-lived but suited the times because it was easier to mass-produce with the available machine tools and the heterochromatic look would return in 1950, the year the pre war Alfa Romeo tipo 158 (Alfetta) would prevail in the in inaugural Formula One World Championship, the tipo 159 retaining the driver’s title the following year.

Umberto II while Prince of Piedmont, a 1928 portrait by Anglo-Hungarian painter Philip Alexius László de Lombos (1869–1937 and known professionally as Philip de László).  Note the ruffled collar and bubble pantaloons.

Umberto Nicola Tommaso Giovanni Maria di Savoia (1904–1983) was the last king of Italy, his reign as Umberto II lasting but thirty-four days during May-June 1946; Italians nicknamed him the Re di Maggio (May king) although some better-informed Romans preferred regina di maggio (May queen).  At the instigation of the US and British political representatives of the allied military authorities, in April 1944 he was appointed regent because it was clear popular support for Victor Emmanuel III (1869-1947; king of Italy 1900-1946) had collapsed.  Despite Victor Emmanuel’s reputation suffering by association, his relationship with the fascists had often been uneasy and, seeking means to blackmail the royal house, Mussolini’s spies compiled a dossier (reputably several inches thick), detailing the ways of his son’s private life.  Then styled Prince of Piedmont, the secret police discovered Umberto was a sincere and committed Roman Catholic but one unable to resist his "satanic homosexual urges” and his biographer agreed, noting the prince was "forever rushing between chapel and brothel, confessional and steam bath" often spending hours “praying for divine forgiveness.”  After a referendum abolished the monarchy, Umberto II lived his remaining 37 years in exile, never again setting foot on Italian soil.  His turbulent marriage to Princess Marie-José of Belgium (1906-2001) produced four children but historians consider it quite possible none of them were his.

Benito Mussolini in 1930 Alfa Romeo 6C 1750 SS, Rome, April 1931.  With periodically updated coachwork, the 6C was in almost continuous production between 1927-1954, a few hundred made even during World War II (1939-1945).

In 1960 only detail changes to the logo were introduced but in 1972, not only did the wavy line vanish but so did “Milano”, a recognition the company had opened a new production plant at Pomigliano d'Arco near the southern city of Naples, built to construct the new Alfasud (the construct being Alfa + sud (south)), something encouraged (and subsidized) by the national government, anxious to reduce crime and unemployment in the south.  The Alfasud was an outstanding design but, for a variety of reasons including troubled industrial relations and political instability, the Neapolitan plant was beset by problems which were visited upon the unfortunate Alfasud, many of which rusted away with some haste.  As if to exorcise the memory of the Alfasud, in 1982 the design was again revised, producing what has to date proved the longest-lasting iteration, remaining in use until 2014.  It was essentially a modernization exercise, the graphics simplified and the font switched to the starker Futura, the revision in 2015 more subtly austere still.

Alfa Romeo Giulia Super Biscione: A 1969 model in Bianco Farina (Pininfarina White, left) and the C-Pillar Biscione on a 1970 model in Rosso Alfa (Alfa Red, right).  Farina is reference to the Italian design and coach-building house with which Alfa Romeo had a long association, the factory at times also offering Rosso Pininfarina (Pininfarina Red) and Blu Pininfarina (Pininfarina Blue).

The “Biscione” version (1969-1973) of the Alfa Romeo Giulia (type 105, 1962-1978) was mechanically identical to other Giulias built at the same time, the package exclusively a trim level, the same concept Ford used in their “Ghia” ranges (the badge added to various blinged-up models between 1973-2008).  The trim features which appeared on the Biscione Giulias weren’t always exclusive, some appearing at various times on other Giulias but there seems to have been a standard specification for the Bisciones (that plural form preferable in this context) and all included:

A sunken Alfa Romeo badge on the trunk (boot) lid.
A chrome centre strip on the hood (bonnet).
Chrome strips on A pillar & roof.
Chrome spears on the rockers (used also on the Berlina models and different from those on other Gulias).
Serpent badges (ie biscioni, in green or black) on the C-pillars (external).
A partially black headliner.
Chrome surroundings on the B pillar interior light switches.
Velour & moquette used for floor coverings rather than rubber mats.

Silvio Berlusconi, Fininvest and the biscione.

M2 corporate logo (left) and Fininvest corporate logo (right).

Finanziaria di Investimento-Fininvest SpA (Fininvest) is a holding company which holds the equity division of the Berlusconi family.  It was founded in 1975 by the estimable Silvio Berlusconi (1936-2023; prime minister of Italy 1994-1995, 2001-2006 & 2008-2011) who has thus far proved irreplaceable in the part he played on the European political stage.  Like many things associated with Mr Berlusconi, Fininvest has not been without controversy including intriguing accounts of the way its initial capital was provided in physical cash (unfortunately whether the bundles of lira notes were emptied from suitcases, paper bags or potato sacks has never been disclosed) and the curious phenomena of the way in which laws under which the company or its founder were facing charges mysteriously were repealed prior to the cases going to trial.  Fininvest is now chaired by Mr Berlusconi’s oldest daughter, Maria "Marina" Berlusconi (b 1966).

Chimera

Chimera (pronounced ki-meer-uh or kahy-meer-uh)

(1) In Greek mythology, monster of Lycia commonly represented with a lion's head, a goat's body, and the tail of a dragon or serpent (often with initial capital).  In some tales, the monster breathes fire; it was killed by killed by the hero Bellerophon.

(2) In mythology and art, any similarly grotesque monster having disparate parts.

(3) In architecture, a subset of the decorative grotesques (like a gargoyle, but without a spout for rainwater) distinguished from other grotesques by being a blending of two or more creatures.

(4) Figuratively, a horrible or unreal creature of the imagination and used as a synonym of bogeyman: any terrifying thing, especially as an unreal, imagined threat.

(5) Figuratively, a foolish, incongruous, or vain thought or product of the imagination; an idle fancy.

(6) Figuratively, anything composed of disparate parts.

(7) In biology, an organism (especially a cultivated plant) composed of two or more genetically distinct tissues, as an organism that is partly male and partly female, or an artificially produced individual having tissues of several species.

(8) In genetics, an organism with genetically distinct cells originating from two or more zygotes.

(9) In applied genetics, a slang term used by scientists describing one who has received a transplant of genetically and immunologically different tissue.

(9) In medicine, twins with two immunologically different types of red blood cells.

(10) In zoology, an alternative form of chimaera, a cartilaginous marine fish in the subclass Holocephali and especially the order Chimaeriformes, with a blunt snout, long tail, and a spine before the first dorsal fin.

(11) In the geography of Ancient Greece, a fire-spewing mountain in Lycia or Cilicia, presumed to be an ancient name for the Yanartaş region of Turkey's Antalya province.

(12) In historic geography, (1) the former name of Himara, a port town in southern Albania and (2) the former name of Ceraunian Mountains, the Albanian mountain range near Himara.

1350-1400: From the Middle English chimera, from the Old French chimere, from the Medieval Latin chimera, from the Classical Latin chimaera, from the Ancient Greek Χίμαιρα (Khímaira or Chímaira) (she-goat).  Chimaera translates literally a “year-old she-goat”, the masculine form being khimaros from kheima (winter season) from the primitive Indo-European gheim (winter) and related to the Latin hiems (winter), the Ancient Greek cheimṓn (winter), the Old Norse gymbr and the English gimmer (ewe-lamb of one year (ie one winter) old).  The alternative spelling chimaera is used always of the fish and sometimes of the mythological beast.  Chimera & chimerism are nouns, chimerical & chimeric are adjective and chimerically is an adverb; the noun plural is chimeras.  In scientific use, the derived forms include macrochimerism, microchimerism, allochimeric, antichimeric, nonchimeric and xenochimeric.

Bellerophon Riding Pegasus Fighting the Chimaera (1635) by Peter Paul Rubens (1577–1640).

The Chimera, a mythical fire-breathing creature depicted often with a lion's head, a goat's body and the tail of a dragon or serpent, was one of the many fantastical offspring of Typhon and Echidna and a sibling of such monsters as Cerberus and the Lernaean Hydra.  In all of antiquity, sighting the Chimera was an omen of storms, shipwrecks, and natural disasters (particularly volcanoes) and was depicted usually by (almost always male) writers as female.  The awful beast was slain by Bellerophon (who led a bloodthirsty life before being killed by Zeus, after which he was venerated as a hero) on the command of King Iobates of Lycia who had begun to find tiresome the Chimira’s raids on his kingdom tiresome.  There arose the tradition that the Chimera was supposedly an ancient personification of snow or winter, but the connection to winter might be no more than the ancient habit of reckoning years as "winters" or maybe just another of the many quasi-mythological imaginings of Medieval writers.  It was in antiquity held to represent a volcano so perhaps the idea of a link to a symbol of "winter storms" (another sense of Greek kheima) and generally of destructive natural forces held some appeal. The word was used generically for “any grotesque monster formed from parts of other animals”, creatures which in the pre-modern world were frequently conjured up for any number of reasons.  The now extinct alternative spelling was Chimeraor and the practice of using an initial capital (known from Latin) when describing the mythical monster is common (on the basis of it being counted as a proper noun) although for this there’s no basis in the rules of English.  The most common modern use, the figurative meaning “wild fantasy” was known in thirteen century French and first recorded in English in the 1580s.

A gargoyle on Cologne Cathedral (left) and a gargoyle on Marble Church, Bodelwyddan, Clwyd, Wales (centre).  The drainage function means the Welsh figure is defined as a gargoyle although its hybrid form is clearly that of a chimera.  The Lindsay Lohan sculpture (digitally altered image, right) is a pure grotesque (single species form, no water spout). 

Grotesques and chimeras

A chimera of Cathédrale Notre-Dame de Paris, contemplating the city, photographed by Noemiseh91.

In architecture, gargoyles are a specialized class of grotesques that include the functional feature of a waterspout and even if a building is renovated with a modern water management system added which means a gargoyle’s spout now longer is connected to the flow, it does not become reclassified as a grotesque; it remains a gargoyle, albeit a “dry” one.  While the difference between a gargoyle and grotesque is a matter of whether the design incorporates the handling of fluid, the distinction between a chimera and a grotesque is at the margins fluid in the metaphorical sense, both being ornamental sculptures most associated with Gothic architecture but critics have created criteria, however loose the parameters may seem.  Classically, a chimera was a fantastical, mythical creature, often a hybrid of multiple animals or a mix of human and animal features and for the architectural feature to be classified thus, it has to conform to this model.  In that chimeras differ from any grotesque which is a representation, however bizarre, of a creature from a single species.  What that means is that while all chimeras are grotesques, not all grotesques are chimeras.

Horodecki House (House with Chimaeras), Ukraine, Kyiv.  This is the aspect which faces Ivan Franko Square.

One of the most celebrated buildings said (erroneously) to be adorned with chimeras is Horodecki House in the Ukrainian capital Kyiv, a structure better known on Instagram as “House with Chimaeras” which received much attention when Volodymyr Zelensky (b 1978, president of Ukraine since 2019) in February 2022 stood in front of it to deliver his “Our weapon is truth” address following the Russian “special military operation” (invasion of Ukraine).  Classified as being in the Art Nouveau style, the building was designed by Polish architect Władysław Horodecki (1863–1930) and despite all the intricate detailing and other complexities, it was completed in little more than two years, opened in 1903.  One thing which made the speed of construction possible was the core technique of using concrete piles as the underpinning, something necessitated by the land being steeply sloped, resulting in an asymmetric building with six floors on Ivan Franko Square while three face Bankova Street.  Another novelty was the use of cement as the finishing material, something at the time not unknown but still rare.  Despite the popular moniker “House with Chimaeras”, the many sculptures which lend Horodecki House its distinctiveness are technically grotesques because all, bipeds & quadrupeds, are representations of real animals, not figures from mythology or fantastical hybrids and it’s believed it picked up the romantic nickname because it imparts such a wonderful air of gloominess and recalls the Gothic style.  The grotesques, rendered in cement, were the work of the Italian sculptor Emilio Sala (1864-1920) who spent most of his working life in St Petersburg and Kyiv.

Interior detailing, Horodecki House Ukraine, Kyiv.

The motif was the theme also for the interior detailing with stuccos, high reliefs and sculptures decorating the ceilings, walls and stairs and of particular interest is that while what’s depicted on the exterior uses only living creatures as a model, inside, everything is dead and often dismembered; Horodetskyi was an avid hunter.  Despite the pervasive feeling of gloom as one approaches the thing, it’s different inside because (the many carcases notwithstanding) the rooms are bright and airy with the floral ornaments typical of early Modernism although it’s of regret all the original furniture and many of the frescos fell victims during World War II (1939-1945) to marauding Red Army soldiers and other looters.  Although in recent years substantially restored, no attempt was made to re-create the frescos, the space not taken by paintings.

Woman with Catfish, Horodecki House Ukraine, Kyiv, photographed by Константинъ. Although there are two creatures in this sculpture, it's still a grotesque because they're separate beings; had the depiction been part fish and part human, it would have been as chimaera.  Although large, certain catfish reach 3 metres in length so the sculptor was rendering still still in the realist tradition.

Following restoration, in 2004 the building was designated a museum but since 2005 it has enjoyed official status as the “Small Residence of the President of Ukraine”, curious term meaning it’s used for meetings with foreign dignitaries and in that there are many advantages, it’s location meaning it’s easy for the security forces to secure the site, the larger rooms are spacious and an make a most attractive backdrop for photo opportunities.  Daily Art Magazine has a feature with a fine collection of images.

Drake

Drake (pronounced dreyk)

(1) The male of any duck.

(2) As “Drake equation”, a formula proposed as a mechanism to estimate the number of active, communicative extraterrestrial civilizations in the Milky Way galaxy.

(3) A small-bore cannon, used mostly in the seventeenth & especially in the 17th and 18th centuries.

(4) A dragon (archaic).

(5) In angling, an artificial fly resembling a mayfly.

(6) A fiery meteor, comet or shooting star (archaic).

(7) A beaked galley or Viking warship.

1250–1300: From the Middle English drake (male duck, drake), from the Old English draca, an abbreviated form of the Old English andraca (male duck, drake (literally “duck-king”), from the Proto-West Germanic anadrekō (duck leader) and cognate with the Middle Dutch andrake, the Low German drake, the Dutch draak (drake), the German Enterich (drake) and the dialectal German drache.  In the Old High German, the equivalent forms were antrahho & anutrehho (male duck).  The archaic meaning in Middle English (a dragon; Satan) dates from before 900 and was from the Old English draca (in the sense of “dragon, sea monster, huge serpent”), from the Proto-West Germanic drakō (dragon), from the Latin dracō (dragon), from the Ancient Greek δράκων (drákōn) (serpent, giant seafish), from δέρκομαι (dérkomai) (I see clearly), from the primitive Indo-European derḱ-.  The Proto-Germanic drako was productive, the source also of the Middle Dutch and Old Frisian drake, the Dutch draak, the Old High German trahho and the German drache.  In a footnote in the long history of the Royal Navy, HMS Marshal Ney, the ship once known as "the worst ship in the navy" was briefly (during her surprisingly long service) re-named HMS Drake.  Drake is a noun, the noun plural is drakes.

Guilty as sin.  Functional necrophilia by a drake: In November 2001, a researcher at Natuurmuseum (Museum of Natural History), Rotterdam, reported the first known case of homosexualnecrophilia in the mallard duck (mallard Anas platyrhynchos (Aves: Anatidae)).

In idiomatic use, the phrase “ducks and drakes” (usually in the form “playing ducks and drakes”) dates from 1585 and means “recklessly or irresponsibly to behave with something valuable or to waste something precious”.  The origin is believed to lie in the pastime of throwing flat stones across the surface of water (known also as “skipping stones”, “stone skiffing” or “skimming stones”, the allusion being to the behavior of the water as the stones bounce before eventually losing energy and sinking, the effect (the circular rings produced by the skipping stone) said to be something like that created by the splashing of ducks and drakes (and waterfowl in general).  It was thus a a reference to doing something in a haphazard and careless manner, without any particular aim or purpose and over time, came to be used generally to refer to any kind of wasteful or irresponsible behavior.  It accurately described the pointlessness of skimming stones but was something of a slight on the birds; their activities on water an indication of their industriousness.  The sense of “to squander, to throw away” emerged in 1614, the notion being “throwing money away, as if throwing away stones in this pastime”.  The perfectly-shapes stone for the purpose (flattish & disc-like) was called a drakestone and in parts of northern England the pastime was known as drakestoning.

The Drake equation

The Drake Equation is a mathematical formula developed in 1961 by US astrophysicist Dr Frank Drake (1930–2022) to estimate the number of intelligent civilizations that (1) might exist in our Milky Way galaxy and (2) be capable of communicating with us. The equation takes into account various factors, such as the number of habitable planets, the probability of life forming on those planets, and the likelihood of intelligent life evolving.  The equation takes the form:

N = R* × fp × ne × fl × fi × fc × L

where:

N = the number of civilizations in our galaxy that are within the parameters capable of communicating with us
R* = the rate of star formation in our galaxy
fp = the fraction of stars that have planets
ne = the average number of habitable planets per star with planets
fl = the fraction of habitable planets that develop life
fi = the fraction of planets with life that develop intelligent life
fc = the fraction of intelligent civilizations that develop technology to communicate with others
L = the length of time such civilizations release detectable signals into space

Sixty-odd years ago, Dr Drake was well aware his equation was not a tool of immediately practical application because there was no certainty about any of the values.  Additionally, the formula was designed not to estimate the actual volume of intelligent life in the galaxy but the number of instances where the conditions might exist which would allow an intelligent to broadcast radio transmissions into space.  Since then, science has became able better to quantify two of the variables but the equation remains an interesting, speculative device and it remains a widely used tool for discussion and debate.

Portrait of Sir Francis Drake (circa 1581), oil on panel by an unknown artist, National Portrait Gallery, London.  A navigator and buccaneer (a kind of pirate), Sir Francis Drake (1540–1596) was the first Englishman to sail around the world (1577–80) and is best remembered for his command of the fleet which faced the Spanish Armada in 1588.