Wonder

Wonder (pronounced wuhn-der)

(1) To think or speculate curiously.

(2) To be filled with admiration, amazement, or awe; marvel (often followed by at).

(3) Something strange and surprising; a cause of surprise, astonishment, or admiration.

(4) The emotion excited by what is strange and surprising; a feeling of surprised or puzzled interest, sometimes tinged with admiration.

(5) A miraculous deed or event; remarkable phenomenon.

(6) As a modifier, exciting wonder by virtue of spectacular results achieved, feats performed etc; wonder drug; wonder horse; seven wonders of the ancient world et al.

Pre 900: A Middle English nouns wonder & wunder from the Old English wundor (marvelous thing, miracle, object of astonishment), from the Proto-Germanic wundrą.  It was cognate with the Scots wunner (wonder), the West Frisian wonder & wûnder (wonder, miracle), the Dutch wonder (miracle, wonder), the Low German wunner & wunder (wonder), the German Wunder (miracle, wonder), the Danish, Norwegian & Swedish under (wonder, miracle), the Icelandic undur (wonder) and the Old Norse undr (wonder).  In Middle English, by the late thirteenth century, it came also to mean the emotion associated with such a sight.  The original wonder drug (1939) was Sulfanilamide, one of the first generation of sulfonamide antibiotics and best known as M&B (after the British manufacturer May & Baker); it was later largely superseded by penicillin and other sulfonamides.  The verb (derivative of the noun), was from the Middle English wondren & wonderen, from the Old English wundrian (be astonished; admire; make wonderful, magnify), from the Proto-Germanic wundrōną.  It was cognate with the Saterland Frisian wunnerje, the West Frisian wûnderje, the Dutch wonderen, the German Low German wunnern, the German wundern, the Old High German wuntaron and the Swedish & Icelandic undra.  The sense of "entertain some doubt or curiosity" dates from the late thirteenth century.

Exactly or vaguely synonymous are conjecture, meditate, ponder, question, marvel, surprise, amazement, bewilderment, awe, scepticism, reverence, fascination, confusion, shock, admiration, doubt, astonishment, curiosity, uncertainty, surprise, fear, phenomenon, oddity, miracle, spectacle & speculate.  The noun wonderment is a noun has been in use since the 1530s while wonderful was drawn from the late Old English wunderfoll and wondrous emerged circa 1500, derived (it would seem) from the Middle English adjective wonders which was first noted in the early fourteenth century, originally genitive of the noun wonder, the suffix altered by the influence of such as marvelous etc; it existed as an adverb from the 1550s, the evolution related to wondrously & wondrousness.  Wonder is a noun & verb, wonderer & wonderment are nouns, wonderless is an adjective, wondrous is an adjective & adverb, wonderful is an adjective & adverb (and a non-standard noun) and wondrously is an adverb; the noun plural is wonders. 

The Wonderbra

The “wonder” in the portmanteau word Wonderbra underwent a bit of a meaning shift, decades after the product was released.  Although best-known for the illusory enhancement the structural engineering made possible, “wonder” was originally an allusion to the comfort offered compared with the usually more uncompromising alternatives of the time.  Wonderbra, marketed with an emphasis on the practicality and comfort made possible by innovations in construction, was first trademarked in 1939 by the Canadian Lady Corset Company and was for some years available only in Canada.  Not trademarked in the US until 1955, it wasn’t until 1961 (with the model 1300) that the now familiar, gravity-defying, design was released.

Even then, although the 1300 became the brand’s most popular product, it was thirty years before worldwide success was realized; although it had been on sale in the UK since 1964, sales boomed only in 1992, a success repeated in Europe the next season.  The Wonderbra was launched in the US in 1994 and, assisted by a minimalist advertising campaign featuring Czech model Eva Herzigová (b 1973), became not only a best-seller but part of the cultural lexicon.  The engineering of the Wonderbra wasn’t difficult to emulate and other manufacturers released clones, each with a portmanteau at least as suggestive of “wonder” as it had come to be understood in this context, Gossard offering an Ultrabra and Victoria's Secret a Miracle Bra.  Wonderbra responded to the competition with a novel technical innovation, the Air Wonder, inflatable for "high altitude cleavage".  Included with the Air Wonder was a mini-pump, small enough to fit in a handbag and be thus available for adjustments as circumstances demanded.

Wonderment: Lindsay Lohan as an enhanced Hermione Granger (a fictional character in JK Rowling's (b 1965) Harry Potter series), Saturday Night Live (season 29 episode 18), 1 May 2004.

The Seven Wonders of the Ancient World

The pyramid today: it's the only of the seven wonders which still stands.

The Great Pyramid of Giza was built in 2570 BC and still stands, debate continuing about how it was built, how long the construction took and how many workers were required.  Built as a tomb for the fourth dynasty Egyptian pharaoh Khufu, it was part of a complex which included temples and many smaller pyramids.  Originally, the outermost stones were a highly polished white limestone, many of which were loosened by an earthquake some 600 years ago and over time, all were removed and used in the structures of cities and mosques.  As well as being of interest to architects, Egyptologists and archaeologists in general, the Great Pyramid has attracted cosmologists and mathematicians because of references to the Moon, the Orion constellation, continental gravity and other features of the heavens.  Each side of the pyramid is almost perfectly aligned with the four cardinal points of the compass while the dimensions convert to a ratio that equates to 2π with nearly perfect accuracy.

In the absence of evidence, artists can make of the gardens what they will.

According to legend, the Walls and Hanging Gardens of Babylon were built in 600 BC and stood until destroyed by earthquake in 226 BC but among historians there has long been debate about (1) whether the gardens ever existed and (2) if they did could they possibly have been the form usually described.  None of that ever bothered medieval story-tellers or poets, some of whom embellished the legend as they went.  Most tales recount how they were by King Nebuchadrezzar II because his wife missed the lush, green gardens of her home and in the medieval imagination they were represented sometimes as a cascading series of rooftops and sometimes dangling from structures built into the walls of the royal palace.  A more recent theory, noting the difficulties which would have existed in creating an irrigation system speculate that the myth may be based on gardens planted not in Babylon but close to Sennacherib at the eastern bank of the river Tigris.

Zeus: Because of the well documented contemporary descriptions, the renditions since are at least conceptually accurate.

The Statue of Zeus at Olympia (Δίας μυθολογία) was built in 430 BC and was destroyed by fire in 426 AD. Carved from ivory, on a throne of cedarwood, the statue in its right hand held a life-size statue of Nike, the goddess of victory, and in its left a large sceptre topped with an eagle. Said to be some 12 metres (40 feet) tall, contemporary accounts say it occupied the whole width of one of the temple’s aisles, its head reaching to the ceiling.  Debate has long surrounded the fate of the statue, some saying the structure was lost in the fire while others had it moved to Constantinople (modern day Istanbul) where if remained for decades before being destroyed.  Evidence about its appearance is fragmentary and unreliable; although there’s no doubt many copies at various scales were created during the 800-odd years it stood, none are known to have survived.

Before the fire: The Temple of Artemis is a popular model for modern re-creations.

The Temple of Artemis at Ephesus (Ἀρτεμίσιον) was built in 550 BC and was destroyed by fire in 356 BC though as was the practice then, the structure was rebuilt several times over the centuries.  Unusually by the architectural conventions of the time, it was built substantially of marble and glittered with gold. The scale was impressive: from the high platform over a hundred sculptured columns supported the roof and being at least twice the size of the Parthenon, it was so breathtaking it was said to “rise to the clouds” which literally was rarely true but an example of how exaggeration in social media is nothing new.  The temple functioned also as an art gallery but the centrepiece was of course the statue of Artemis and if the legends are believed it was covered with gold and colourful stones, the legs adorned with carving of bees and animals with the top of the body adorned with breasts, symbolizing fertility.  It was destroyed in an act of arson by a malcontent called Herostratus who wished to secure a place in history by any means and the word herostatic (one who seeks fame at any cost) has endured.  Although made of marble, like the steel & glass Crystal Palace in London, the structure was packed with flammable materials and oils so it burned well.  There exists also a conspiracy theory that the act was a kind of inside job by the temple’s priests who had their own reasons for wanting a new building but neither that nor a reference to the writings of Aristotle which offers a lightning strike as the catalyst for the conflagration have much support among historians.

How to be remembered: The Mausoleum at Halicarnassus.

The Mausoleum at Halicarnassus (Μαυσωλεῖον Ἁλικαρνασσεύς), built as a tomb for Mausolus, a governor in the Persian Empire, was constructed in 352 BC and destroyed by earthquake in 1404 AD.  Said to be extravagant even by the standards of personal aggrandizement known throughout antiquity, the work included sculptural reliefs for each of the four sides of the building, commissioned from the leading Greek architects and artists; these soon became something of a tourist attraction.  Almost perfectly square and some 14 stories tall, the base covered some 10,000 square feet (900+ m²) while on each side of the tomb stood nine massive columns supporting a stepped pyramid on which stood by a four-horse marble chariot in which sat carvings of Mausolus and his Artemisia (who supervised the construction).  So famous was the tomb that Mausolus's name became the root for the word for large tombs in many languages.

Pleasing lines: The Lighthouse of Alexandria.

The Lighthouse of Alexandria (ὁ Φάρος τῆς Ἀλεξανδρείας) was built in 280 BC and was destroyed by earthquake in 1323 AD.  It sat on the island of Pharos in the harbor of Alexandria and was the world’s first “famous lighthouse” although it was architecturally different to modern structures, built in three stages, all sloping inward.  Built with marble blocks suing lead as mortar, the lowest was square, the middle octagonal and the top cylindrical.  Within the lighthouse was a ramp and “dumb-waiter” used to transport the wood for the fire which burned during the night.  On the lantern floor, a large, curved mirror reflected the sunlight during the day and the fire at night and in clear weather it’s said seafarers could see the light even at a distance of 50 kilometres (30 miles).  The earth’s curvature makes this seem improbable but under certain atmospheric conditions (such as the light reflecting from clouds), it may have been possible.  Also plausible is the legend the light generated by the mirror was so bright and hot it could be used as a weapon of coastal defense to set fire to an enemy’s ships.  Under controlled conditions, because such ships were sometimes coated with flammable, tar-like substances (for water-proofing & timber preservation), it might have been possible but it would have been challenging to achieve this against a moving target.  Such was the power of the legend of the Pharos that the word remains the root for “lighthouse” in a number of languages.

Vaguely plausible rendering of how The Colossus of Rhodes may have appeared.

The Colossus of Rhodes was a very big statue, erected somewhere near the port of the city of Rhodes, the biggest settlement on what is the one of the larger Greek islands of the same name which lies off what is now Turkey’s Aegean coast.  Taking a dozen years to complete, the statue, construction of which began in 292 BC, was erected to honor Elios, the God of the Sun, who brought the inhabitants victory over Demetrius Poliorcetes (Demetrius I of Macedon; “The Besieger" 337–283 BC) who laid siege to Rhodes in 305-304 BC.  It stood for only sixty-odd years, collapsing during a severe earthquake which struck in 226 BC, contemporary reports indicating the structure fractured at both knees before toppling.  Remarkably, the mostly bronze wreckage was left substantially undisturbed for some eight-hundred years, becoming something of a tourist attraction before, in 654, it was salvaged by Arab invaders under the Muslim caliph Mu'awiya I (معاوية بن أبي سفيان‎, Muʿāwiya ibn Abī Sufyān; circa 600–680) who sold it to someone described as “a Jewish merchant from Damascus” who is said to have carted it off on a camel train of almost “a thousand beasts”.

Demetrios the Besieger had a scandalous private life but had a flair for military matters, noted too for innovations in engineering such as the machines and devices built by his armies as siege engines.  However, even the forces he was able at deploy in 305-304 BC weren’t sufficient to defeat the fortifications of Rhodes and eventually, Demetrios was compelled to retreat, abandoning the siege machinery on the island.  To give thanks to the Sun God, the Rhodians granted the commission to build a triumphal statue to Helios to the sculptor Chares of Lindos (Χάρης ὁ Λίνδιος, circa 330 BC-circa 280 BC), a pupil of Lysippos (Λύσιππος; fourth century BC) and, in the dozen years between 304-292 BC, he supervised the construction.

Logo of Lindsay Lohan's Beach House at Rhodes.

Structurally, the build was executed along the well-understood engineering principles of the age, the base of white marble first installed to which were affixed the feet and ankles, an iron and stone framework gradually formed as scaffolding and structure proceeded in unison upwards.  To permit the workers to reach the highest levels, an earth ramp was built because the heights involved meant a free-standing system of scaffolding would lack the needed stability; when the work was complete, the earth ramp was demolished and the soil carted off.  While the superstructure was built, workers cast the outer skin in bronze using plates, the metal formed with copper melted in large ovens, to which iron, making 10-20% of the mix, was added.  Then the mouton metal mixture was moved in large ladles to be distributed in clay molds, flat structures used to form sheets varying in thickness according to need. Once cast, the rough edges were ground away and the plates polished before they were transported to the building site where they were hammered to the desired shape to be attached to the iron structure,  The thickest and heaviest plates were those rendered for the feet and ankles, complex in the shape of their curves and needing more mass to afford greater stability.  Thus for a dozen years, the thin bronze skin was added to the growing body of stone, each plate fixed to the iron frame and then to the neighboring plate.  Once finished, it was polished to reflect the rays of the Sun so it would shine as intensely as possible, better to honor Helios. 

How engineers would today build a 122 m (400 feet) high Colossus using modern techniques of structural engineering.  An interesting exercise although the Greek exchequer may have other fiscal priorities.

From the laying of the first stone to its toppling, building its destruction lies a time span of but sixty-seven years but the Colossus ranks as one of the seven wonders of the ancient world with Great Pyramid of Giza which still stands after almost five-thousand.  Such was the scale of the Colossus that the ruins still impressed, “…even lying on the ground, it is a marvel" wrote Pliny the Elder (24-79) who noted few men could wrap their arms around the fallen thumb and each finger alone would have stood taller than most other statues.  The earthquake which so damaged the city 226 BC broke the Colossus at its narrowest and thus weakest points, the knees, and given the mass which existed above, there was no chance it could survive.  Although it would be centuries before the list of the seven wonders would exist as the codified canon now familiar, the stature was already famous and the an offer to the pay the cost of restoration was extended by Ptolemy III Euergetes (Πτολεμαῖος Εὐεργέτης, Ptolemy the Benefactor; circa 280–222 BC) of Egypt.  However, an oracle was consulted and their judgement forbade any re-construction so the offer was declined.  Details of the oracle’s pronouncement are lost but it’s speculated the conclusion may have been the earthquake was the act of a wrathful Helios and the ruins should be left where they fell, lest anger again be aroused.  There is no otherwise compelling explanation to account for why so much valuable bronze wouldn’t for centuries be recycled.

A (fanciful) engraving of the Colossus of Rhodes (circa 1540) by Martin Heemskerck (1498-1574).

The exact location remains uncertain but the notion the Colossus straddled the entrance to Rhodes harbor with ships passing between its legs was a figment of medieval imagination, a thing famously vivid.  Given its method of construction, such a thing would have collapsed under its own weight even before it was complete and, had it stood over the water, not only would construction have been challenging but when it fell, it would have blocked the entrance to the Mandraki harbor.  Despite that, in the early 1980s when a large piece of rubble was discovered in the water, there were still romantics who hoped this might vindicate the medieval theory.  There’s little doubt the story of a 60m (200 feet) tall Colossus straddling the entrance to the harbor was the work of opportunist poets and artists, the engineers and architects of the time sufficiently acquainted with physics and metallurgy to have assured all of the impossibility of their vision yet it seems long to have captured the medieval imagination.  Despite all that, it still influenced many even at the dawn of modernity, being one of the inspirations for the Statue of Liberty but that was designed in a way to ensure greater strength and stability, the weight distribution and the dimensions of the base entirely different.  There’s no doubt the statue stood somewhere in the proximity of Rhodes harbor but archaeological excavations have thus far revealed nothing, not unsurprising given the footprint of a vertical structure is much less than a temple or other building, and the urbanization of Rhodes over two millennia mean the site may long ago have been built-over.  The Colossus though would have shared one noted characteristic with the Statue of Liberty: When copper rubs on iron, it creates electricity, especially in a costal environment with salty air.  Like Liberty, the Colossus of Rhodes made its own electricity.

Mirror

Mirror (pronounced mir-er)

(1) A reflecting surface, originally of polished metal but now usually of glass with a silvery, metallic, or amalgam backing; used casually, any reflective surface.

(2) Such a surface set into a frame, attached to a handle, etc and used usually for viewing oneself or as an ornament or architectural feature.

(3) In music (of a canon or fugue), capable of being played in retrograde or in inversion, as though read in a mirror placed beside or below the music.

(4) In computing, a disk (often as part of an array), website or other resource containing replicated data.

(5) Historically, a kind of political self-help book, advising kings, princes, etc on how to behave.

(6) In zoology, as mirror carp (known regionally as the Israeli carp) a type of domesticated fish commonly found in Europe but widely introduced or cultivated elsewhere (the name based on the creature’s appearance).

(7) In mathematics & geometry, to create the “mirror image” of a shape across a point, line or plane.

(8) To reflect in or as if in a mirror.

(9) To reflect as a mirror does.

(10) To mimic, replicate or imitate something.

(11) To be or give a faithful representation, image, or idea of something.

1175-1125: From the Middle English mirour, from the Old French mireor (mirror (literally “looker, watcher”)), from mirer (look at), from the Latin mīror (wonder at) & mīrārī (to wonder at), from mīrus (wonderful), from the primitive Indo-European smey- (to laugh, to be glad).  The construct of the Middle English mirour was the Latin Mir(er) + -eo(u)r, from the Latin -ātor, a noun suffix of agency; it displaced the native Old English sċēawere (literally “watcher”), which was also the word for “a spy”.  According to Nancy Mitford's (1904–1973) Noblesse Oblige: An Enquiry Into the Identifiable Characteristics of the English Aristocracy (1956), "looking glass" is the "U" (upper-class) term while "mirror" is used by the "non-U" (everyone else).  The alternative spelling mirrour is obsolete.  The verb mirror (to reflect) dates from the 1590s and developed from the noun; the related forms mirrored & mirroring soon followed.  The early fifteenth century Middle English verb mirouren meant “to be a model” in the sense of one’s conduct or behavior while the mid-fourteenth century miren (from the Old French mirer) meant literally “to look in a mirror”.  Mirror & mirroring are nouns & verbs, mirrored is a verb, mirrorlike & mirrorless are adjectives and mirrorful is a noun & adjective; the noun plural is mirrors.

In idiomatic use, the phrases “done with mirrors” and “smoke & mirrors” are used to describe things accomplished within the laws of physics but appear in some way the product of “magic”, smoke and mirrors sometimes used by stage magicians in their tricks.  Mirror is used also to refer to a thing that reflects or depicts something else: a website or a political part might claim to “mirror of public opinion” and a student in search of a high grade might do well to “mirror the lecturer’s opinions”.  To “hold up a mirror to” is used to mean: (1) “to represent and by resemblance provide insight into and (2) To elucidate; to make explicit some aspect of.  Historically, a “mirror” was a kind of political self-help book, advising kings, princes etc on how to behave.  Mirrors have appeared in more than a dozen folkloric superstitions, the best-known of which is the seven years bad luck which will accrue to anyone breaking a mirror, the notion first documented in the 1770s and the Queen’s question “Mirror mirror on the wall, who's the fairest of them all?” was from the German fairy tale Snow White, first publish in 1812 by the Brothers Grimm published it in 1812 as Sneewittchen and subsequently revised for later editions.

1974 BMW 2002 Turbo

The 1973 Frankfurt Motor Show was held in September in an atmosphere of (mostly) untroubled optimism, one indication of which was the debut of the BMW 2002 (E20) Turbo.  In road cars, supercharging had faded from popularity in the post-war years as improvements in technology made it possible to deliver the required output with conventional aspiration and in an era of rising prosperity and low energy costs, increased displacement was an easier path to power and while turbochargers had for decades been widely used in aviation and heavy diesel transports, in cars they were still a rare novelty.  The 2002 Turbo delivered a significant lift in performance so expectations were high, something which seemed justified by the reception the car received at the show and those enchanted by its pace seemed prepared to overlook that as well as enjoying the benefits of turbo-charging, the 2002 suffered also the foibles which afflicted the early implementations of the technology, notably the combination of “lag” (the elapse of time between opening the throttle and the expected response) and the sudden delivery of power (and thus acceleration).

1974 BMW 2002 Turbo (left) and as it would appear in a rear-view mirror (right)

However, within three weeks of the Frankfurt show closing, the first OAPEC (Organization of Arab Petroleum Exporting Countries) oil embargo was declared, the price of oil increasing four-fold in the wake, something which curbed customer enthusiasm for fast, thirsty machines and while plenty were more affected, between 1973-1975, only 1672 were built but the car is now recognized as a pioneer of the template which European (and later other) manufacturers would adopt and over the decades refine to the point where the dreaded “turbo-lag” became just a memory.  The survival rate was high and although the performance level was later much surpassed (without any need for turbo-charging), they became much sought after by those wanting to enjoy what could be an exciting experience.  They’re now a collector’s item bought more to admire and trade than drive and prices in excess of US$200,000 are not unknown.  When first announced, the cars allocated to the press fleet had “2002” and “turbo” written in reverse lettering on the front spoiler, just to let drivers glancing in their rear-view mirrors was coming up fast although in the six months following the release, a 100 km/h (60 mph) was imposed on the autobahns as a fuel-saving measure so opportunities to overtake were limited.  The message implied in the graphics attracted the interest of the authorities in some German Länder (state governments) which claimed the concept was “aggressive” and cars with the lettering might not be registered.  Aggression has been a sensitive topic in Germany since 1945 and BMW made the graphics and option but apparently nowhere in the country was registration denied and like the originally optional blue strips on Shelby Mustangs, many 2002 Turbos have since had the graphics retrospectively applied.

Selfie expert Lindsay Lohan, well acquainted with the properties of mirrors.

In computing, the concept of “mirroring” exists in several contexts but the best-known and most widely practiced is in data storage and management.  “Disk mirroring” describes the replication of data stored on one volume onto a physically separate volume, sometimes in the one physical array, sometimes onto media far away.  The attraction of mirroring is that in the event of disk failure, data losses are limited (often eliminated) because the system can continue to use one disk until the failed unit is replaced.  One of the most widely used (and simplest) implementations is RAID (Redundant Array of Inexpensive Disks) Level 1 which in which two disks operate in unison although users only ever see one volume.  Various methods of writing data are used, described usually as synchronous, asynchronous and semi-synchronous and the choice is dictated both by cost and what’s technically possible.  The ideal approach is synchronous writing under which, at most, data losses related to disk failure should be measured in minutes or even seconds.  The industry standard for corporations using mirroring has long been the “hot-swap” which means a failed disk can be pulled from a system while running and a replacement inserted, the RAID software re-mirroring (re-building) the new disk.  A less often seen configuration includes a standby disk which sits in a system, remaining unused until notified of failure in which case it assumes the role of the failed media, re-mirroring beginning as soon as it is found to be on-line.

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 for crests and costs 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 on holiday in Thailand.

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 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.  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 appalling industrial relation and political instability, the plant Neapolitan 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 font, the revision in 2015 more subtly austere still.

1969 Alfa Romeo Giulia Super Biscione.

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).
Green snake badges (ie biscioni) 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 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).

Balaclava

Balaclava (pronounced bal-uh-klah-vuh)

(1) A close-fitting, knitted cap that covers the head, neck, and tops of the shoulders, worn especially by mountain climbers, soldiers, skiers and others who operate in cold climates.

(2) A fire-resistant had covering in the style of the traditional balaclava but made of treated material.

1880-1885; named after Balaklava, a village near Sebastopol, Russia, site of a battle on 25 October 1854, during the Crimean War (1853-1856).  However, the term describing the headwear does not appear before 1881 and seems to have come into widespread use only during the Boer War, some half a century after the battle.  The name Balaklava often is thought to be of Turkish origin, but is perhaps folk-etymologized from the Greek original, Palakion.  Balaclava is a noun and balaclavaed is an adjective; the noun plural is balaclavas.  What came to be called the “full-face” crash helmet was briefly advertised during the late 1960s as the “balaclava helmet” (also now used occasionally of what most call a “balaclava”) but the use never caught on.  In engineering, the non-standard verb balaclavaing is used as slang term meaning “the encasing of something with a cover, leaving only a small aperture to permit access for some purpose”.

The Charge of the Light Brigade

The Charge of the Light Brigade was a classic, knee-to-knee cavalry charge by the British Army against Russian forces during the Battle of Balaclava on 25 October 1854, during the Crimean War.  The battle, of which the charge is remembered as the great set-piece event, was a component of the Siege of Sevastopol (1854–1855), maintained in an attempt to capture the port and fortress of Sevastopol, Russia's main naval base on the Black Sea.  Sevastopol was (and remains) the largest city in the Crimean Peninsula which today is recognized internationally as part of Ukraine (except by Moscow which in 2014 annexed the peninsula). The strategic purpose of the charge was to prevent the Russian army removing captured guns from overrun Turkish positions but, because of failures in communications, the Light Brigade was instead sent on a frontal assault against a different artillery battery, one well-prepared and enjoying a textbook field of defensive fire.  Despite coming under heavy fire, the charge did reach the battery and scattered some of the gunners but the brigade was badly mauled and compelled almost immediately to retreat.  Causalities were heavy, some 300 of the 650-odd strong formation including 118 killed.  It prompted the famous comment from the French Marshal Pierre Bosquet (1810-1861): C'est magnifique, mais ce n'est pas la guerre.  C'est de la folie (It is magnificent, but it is not war.  It is madness.)

In many courses in organizational management, the events which led to the charge being ordered are used as a case-study in the breakdown of communications systems and how such processes should be designed to include failsafes.  Long regarded as a military failure, in recent decades, there’s been a body of literature by military historians suggesting the charge was a key incident in helping Britain to secure ultimate victory in the Crimea.  It's not a universally accepted view but it's certainly true many battles in the world wars of the twentieth century achieved less at greater cost.

The Charge of the Light Brigade (1854) by Alfred, Lord Tennyson (1809-1892)

Half a league, half a league,
Half a league onward, 
All in the valley of Death 
Rode the six hundred. 
“Forward, the Light Brigade! 
Charge for the guns!” he said: 
Into the valley of Death 
Rode the six hundred. 
 
“Forward, the Light Brigade!” 
Was there a man dismay’d?   
Not tho’ the soldier knew 
Some one had blunder’d: 
Theirs not to make reply, 
Theirs not to reason why, 
Theirs but to do and die:    
Into the valley of Death 
Rode the six hundred. 
 
Cannon to right of them, 
Cannon to left of them, 
Cannon in front of them   
Volley’d and thunder’d; 
Storm’d at with shot and shell, 
Boldly they rode and well, 
Into the jaws of Death, 
Into the mouth of Hell   
Rode the six hundred. 
 
Flash’d all their sabres bare, 
Flash’d as they turn’d in air 
Sabring the gunners there, 
Charging an army, while  
All the world wonder’d: 
Plunged in the battery-smoke 
Right thro’ the line they broke; 
Cossack and Russian 
Reel’d from the sabre-stroke    
Shatter’d and sunder’d. 
Then they rode back, but not 
Not the six hundred. 
 
Cannon to right of them, 
Cannon to left of them,     
Cannon behind them 
Volley’d and thunder’d; 
Storm’d at with shot and shell, 
While horse and hero fell, 
They that had fought so well   
Came thro’ the jaws of Death, 
Back from the mouth of Hell, 
All that was left of them, 
Left of six hundred. 
 
When can their glory fade?    
O the wild charge they made! 
All the world wonder’d. 
Honor the charge they made! 
Honor the Light Brigade, 
Noble six hundred!

Usually, balaclavas are worn for warmth.

Balaclavas (some lightweight versions of which are usually called ski masks) are a type of (often knitted) cloth headgear which expose only part of the face, usually the eyes, mouth and sometimes the nostrils, thus protecting most of the skin’s surface area.  The more elaborate versions are adjustable and some can be rolled to become a hat or worn around the neck.  Although associated with use during the Crimean War, such garments had long existed and it was only contemporary publicity which led to the name being linked.  The war in Crimea coincided with the advent of convenient, portable cameras and large volumes of photographs produced, making it the first large-scale conflict thus documented.  The military at the time didn't appreciate the implications of journalists and photographers being able freely to report from battle zones and not for some time was it realized just how much intelligence the Russians were able to obtain simply be reading the London newspapers.  It was in some of these early images that the headwear first attracted attention although it wasn’t until the 1880s that "balaclava" (and “balaclava helmet”) came into use and it became a common term only early in the twentieth century, the popularity thought to have been encouraged by the widely published photographs of the polar expeditions to which were a feature of late Victorian explorations.

Camila Cabello (b 1997) in Vetements balaclava in black, Paris Fashion Week, September 2024.

For warmth, British troops wore knitted woolen versions of the headwear, which, early in the war were all handmade, knitted either on the spot (a kind of on-board cottage industry emerging on Royal Navy ships anchored nearby, knitting a commonly held skill of sailors) or sent from home in response to sketches sent in letters.  Later, knitwear companies would enter the market but the need existed only because poor planning and an under-estimation of the duration of the conflict meant most cold weather supplies never reached the troops.  The Crimean War was a shock to the British Army which, organizationally, was little changed from the Battle of Waterloo (1815), two generations earlier and the findings of subsequent boards of inquiry resulted in worthwhile, if still inadequate, reforms.  It was a not uncommon aspect of many colonial wars and exactly the same situation which confronted the Wehrmacht (the German armed forces, 1935-1945) in late 1941 when the harsh Russian winter arrived with the German advance still in open country, far from its objectives.  Balaclava are most associated with protecting the face from the cold but relatively thin, lightweight versions versions made with fibres chemically treated to be fire-resistant are used in motor-racing (FIA 8856-2018 standard) and other fields where exposure to flame is an occupational hazard.  They’re used also by both sides of the crime business to conceal identity; by criminals in an attempt to avoid detection and by those in law enforcement to protect themselves and their families from retribution.

Not all that appears on the catwalk catches on.  Knitted balaclavas were a thing in some collections at fashion shows in 2018 but, not unexpectedly, a high-street trend didn’t follow.

PopSugar's distribution of Lindsay Lohan's "Masked Shoot" for Marc Ecko's (b 1972) Fall 2010 campaign, undertaken during blonde phase and including balaclavas, August 2010.