Category Archives: History

History Undusted: Engadin Sgraffito

I know that, for most of you, neither Engadin nor Sgraffito have made you any wiser as to what this blog is about, so first, I’ll start off by explaining where and what they are, respectively.

Engadin (pronounced En-Ga-Deen) is a long, towering Alpine valley in the Romansh-speaking canton of Graubünden in southeast Switzerland. The first mention of this valley was in Latin as vallis Eniatina in AD 930; in the Romansh language (one of the four national languages of Switzerland), it is Engiadina. The river running through the valley is called the En or Inn, and it is the only river in Switzerland that runs (via Austria) into the Black Sea. The region is usually divided into lower and upper Engadin, and it is connected to the surrounding regions by several mountain passes.

The second word, Sgraffito, describes a plaster technique that is traditional throughout Engadin: Layers of plaster of contrasting colours are scratched through, creating intricate designs on the facades of buildings (many of the buildings in Engadin towns were built (or rebuilt) in the late 1500s to early 1600s). The word comes from the Italian graffiare, which means to scratch; it can be traced back to the Greek word graphein, meaning to write (from which we also get any words containing the prefix, suffix, or derivative of graph (graphite, typography, graptolite, parallelogram, holograph, etc.). Sgraffito is not only used on buildings to make them look decorative, but it also serves the purpose of making a small feature look larger; on one building, the same floor had different-sized windows, likely installed over generations; the sgraffito was used to give a more uniform look to the façade. The decorations also make a plain building look grander, giving a more opulent impression. One building, pictured below, obviously had two occupants with very different characters back when they were originally decorated…

The basic technique for architectural features is to plaster the façade with the base colour; once that has set, it is then plastered with a contrasting colour; once that has set just enough, the scratching, or carving, begins. This is also a technique used in pottery and in creating stained glass effects (just click on the links if you’d like to see how these crafts are made).

One thing to note is that many old buildings here in Switzerland have dates listed on them: Of when they were originally built, and when they’ve been renovated. Part of the history of such renovations may include fires that swept through villages, or avalanches that buried a layer, or wars, such as the Swabian War and war against the Habsburgs, and the subsequent renovation or rebuilding of the towns or individual homes. Sometimes, along with the dates, a list of past and present occupants will also be displayed, preserving their names and memories within the history and changes of the building itself.

Below are a few pictures taken in Engadin during our recent summer holidays. Enjoy! Feel free to zoom in on the pictures to see the details.

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Who’s Who in Quotes: John Bertram Phillips

Deciding who to highlight here in this space sometimes comes down to a moral choice; some of the people I’ve investigated as a result of a quote from my collection have turned out to have lived lives that are, frankly, not worthy of my spending time and effort to share their history. One was a multi-billionaire who was a womanizer and a miser who loved tormenting people under his control. He lived a miserable life and died a lonely death. As Jesus said, “What good is it for someone to gain the whole world, yet forfeit their soul?” (Mark 8:36). Others, while they may have lived lives worth remembering, made strings of unwise choices that led to scandals and/or dodgy associations with corrupt foreign powers. While a quote or two from such a person might hold a grain of truth or wit, I personally find it difficult to un-see the stains behind the curtain, as it were, and so I choose to highlight lives that have something worth learning from or from those people who’ve done something worthy of our respect.

The person I’d like to highlight today is John Bertram Philips (1906-1982), best known for his translation of the New Testament and part of the Old Testament into modern English. This work wasn’t done in a stuffy theologian’s office, but in the bomb shelters of the London Blitz of World War 2. During that war, he was the Anglican vicar of the Church of the Good Shepherd in Lee, London, and he realized that the young people in his church had difficulty relating to, or understanding, the Authorized Version of the Bible, aka the King James Bible, which was first published in 1611*. By the mid-1940s, English had changed fundamentally, and it has continued to grow and adapt; the older version of the biblical translation was and is (for most people) stuffy and unrelatable. [For those of you wondering which version of the Bible is most accurately translated from the original Greek, Hebrew and Aramaic texts, the NIV Bible adheres most closely to them; 2011 saw a major revision to the NIV translation, based on recently published critical editions from biblical scholars.]

[*The history of how The King James Bible came to be the king’s Bible is long and sordid, littered with spies, political intrigue and betrayal, ending in the gruesome martyrdom of William Tyndale, whose translation was basically appropriated after his death, which is ironic, as he was tried because his translation was illegal…”unauthorized” by the Holy Roman Empire political elite… but that’s another story.]

Encouraged by his friend, C.S. Lewis, Philips published the first section of the New Testament, starting with Paul’s letters to the churches, in 1947, with the Gospels following in 1952. The final compilation of the New Testament was published in 1958. In the 1960s, he translated and published parts of the Old Testament, though this was never finished within his lifetime.

As a minister and translator, a communicator at heart, it’s no wonder that there are numerous quotes taken from his writings, sermons, and letters written during his lifetime; in some ways, like Tyndale, he was ahead of his time in his understanding of God and our relationship with Him. As the saying goes, we today see further because we stand on the shoulders of giants. Whether or not you believe in God, if you live in any nation with Judeo-Christian foundations, you benefit from those shoulders in more ways than you know.

If you’d like to read more about the life of this complex man, who struggled with clinical depression most of his life and yet remained firm in his faith, please click on the link to an article titled, A Bruised Reed Firmly Planted.

Without further ado, here is a selection of quotes from John Bertram Phillips:

  • The refusal to be committed and the attitude of indifference can, in fact, never be neutral.
  • Christianity is not a religion at all but a way of life, a falling in love with God, and through him a falling in love with our fellows (fellow man).”
  • Christ is the aperture through which the immensity and magnificence of God can be seen.
  • God is not discoverable or demonstrable by purely scientific means, unfortunately for the scientifically minded. But that really proves nothing. It simply means that the wrong instruments are being used for the job.
  • All poetry and music, and art of every true sort, bears witness to man’s continual falling in love with beauty and his desperate attempt to induce beauty to live with him and enrich his common life.”
  • It is refreshing and salutary to study the poise and quietness of Christ. His task and responsibility might well have driven a man out of his mind. But He was never in a hurry, never impressed by numbers, never a slave of the clock.”
  • You can throw the whole weight of your anxieties upon him, for you are his personal concern.” (from his NT translation)
  • There is… no easy answer to the evil and suffering problem and no easy road to its solution. But Christ tackled the matter radically and realistically by winning the allegiance of a few men and women to a new way of living…They were to be the spearhead of good against evil.”
  • Love knows no limit to its endurance, no end to its trust, no fading of its hope; it can outlast anything. It is, in fact, the one thing that still stands when all else has fallen.” (from his NT translation)

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Idioms Undusted: When Too Many is Too Much

I know that most of you can relate to the occasional feeling of having too many things going on at once; juggling jobs, family, civic responsibilities and household management can bring on the feeling of a hamster in a wheel, moving, moving, but not really getting anywhere!

That feeling began creeping up again for me last week, and a few idioms came to mind related to that feeling – which tells me that the condition of being overwhelmed or over-busy is an age-old challenge.

You can’t dance at two weddings

This idiom means that you can’t do two things simultaneously – you have to decide for one or the other. Sometimes that’s a tough choice – both things would be great to be involved in but, unless you’ve learned how to clone yourself, a choice must be made.

The phrase’s etymology leads us to the Yiddish language: Historically Judeo-German, Yiddish is a West Germanic language historically spoken by Ashkenazi Jews and originated in the 9th century. What I find interesting is that, about 25 years ago, when I was still learning High German alongside Swiss German (Zurich dialect), my husband was invited to perform some of his troubadour songs in a concert with several other artists; one of the groups performed in Yiddish. I could understand and follow the story of their song, while my husband and other Swiss around me couldn’t. I think it was a combination of me being a fresh learner of the two languages simultaneously, having a musical ear and, perhaps more importantly, having a Scottish accent still in my ear and a bit in my Swiss German – for me, it sounded a bit like a combination of the two! My brain combined it all, and I could follow the story – my explanation to my husband was then confirmed by their translation given after the song was over.

The idiom is likely derived from the Hebrew translation of the story in 1 Kings 18:21; the English NIV says “How long will you waver between two opinions?” but the Tanach could be read as, “How long will you hop between two platforms?”

Spread butter too thin (over too much toast)

This idiom, with a similar connotation, implies that one overcommits to too many things, leading to unsuccessful results, or leading to exhaustion or poor performance.

A good example of this idiom is happening right now in our flat: Of all the companies we’ve had to work with on the various issues of resolving water damage (the entire process began in April 2024, and no, it’s not over yet!), one company has teams in several functions – floor renovation, plastering, painting… and probably others, of which I hope I never have experience. Every single repair they’ve undertaken has been shoddy, and they’ve had to repeat the exercise – meaning we have had to move half of our flat away from floors, walls and pathways several times already as they have to re-do badly-done work! I’ve put my foot down and insisted that project managers show up and check the work before the workers are done, from now until I never have to see the company again!

The companies that concentrate their expertise on one area, such as plumbing, balcony renovation, façade renovation, or electrical repairs, have all done great work, done and dusted.

Have one’s fingers in too many pies

This idiom is similar to the butter metaphor, and it means to be involved in many different activities or projects at once, often to the point of being overstretched; It suggests a lack of focus or a tendency to dabble in various things without fully committing to any. 

Shakespeare used this imagery in Henry VIII, in which the Duke of Buckingham refers to Cardinal Wolsey: “The devil speed him! no man’s pie is freed from this ambitious finger“.

In Italian, the phrase “avere le mani in pasta” means to have one’s hand in the pies, or pasta, or simply being hands-on.

This idiom is so visual that it is difficult to trace its origins, as it likely had many concurrent origins throughout history. Shakespeare most likely wasn’t the first to use it, though he no doubt popularized it, like so many things he’s “credited” with.

Wearing too many hats

This idiom, also as “man of many hats” stems from a recent past when people wore hats on a daily basis.

Men had hats, usually bowlers, to wear in the city during the day, while they wore a different hat on the hunting field, another when riding horses, and another for evening parties. Cricketers, cowboys, players of various sports (baseball, American football, etc.), military ranks with casual uniforms or dress uniforms or combat uniforms all wear different hats.

To wear too many hats implies that a person is trying to perform too many different roles or jobs than is realistically feasible, implying that they may struggle to fulfil responsibilities effectively.

Have you had times in your lives when too many is too much? If so, let’s all learn to slow dance, eat less butter, bake fewer pies, and choose one hat at a time!

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The Fascinating History Behind the Fraktur Typeface

Last Sunday at church, a friend filled an entire room with her late father’s books, setting up an impromptu book shop. I chose several books, most of which are in Fraktur typeface, known to some people as “Gothic” or “Old German”. I enjoy reading such books because they offer a snapshot of a cultural way of thinking. The books I chose were printed between 1877 and 1940. The latter date is significant, as you’ll soon see.

First of all, let’s clarify a few terms: Though many people think of font and typeface as interchangeable, in fact, they refer to two different aspects of a writing style. Typeface refers to a particular style of lettering (e.g. Times New Roman), while font refers to the variations within that style, such as size and weight (CAPS, bold, italic, etc.). Another term we know but may not fully understand is Serif: This refers to the small stroke or line attached to the larger stroke of a letter; an example would be an A with “feet” at the bottom of each down-stroke. Sans Serif simply means “without Serif”.

The first moveable-type printing press, designed by Johannes Gutenberg in Germany around 1440, was based on the ancient Roman design of a screw press used to press wine or oil, which in turn went on to be used to press designs into cloths. He was likely familiar with intaglio printing and may have done some work himself in copper engraving.  These designs and uses likely fermented in his inventor’s mind into what became the revolutionary turning point of literacy. Gutenberg’s original typeface was called Donatus-Kalender; the metal type design was itself a form of Textura (more on that in a moment).

Donatus Kalender
Example of Blackletter (Source: Wikipedia)

This original family of typefaces was known as “Blackletter”, aka “Gothic scripts”, with the height of popularity peaking around the 14th to 15th centuries. The ancestor of the Blackletter was called the Carolingian minuscule, a calligraphic standard of handwriting widely used in the medieval period, when literacy began increasing and a need for books in a wide range of subjects began to be in demand. It is thought to have been developed in the mid-770s by Benedictine monks north of Paris in the Corbie Abbey, famous for its scriptorium and library. The minuscule itself was derived from Roman Uncial as well as Irish Insular script, which was developed in Irish monasteries and spread throughout Europe.

Carolingian Minuscule
Roman Uncial
From the Book of Kells, an example of the Irish Insular script

The family of Blackletter typefaces included Early Gothic, which was a transitional script between the Carolingian miniscule and Textura (the most calligraphic form of Blackletter); Schwabacher was a form popular in early German print typefaces (it became widely known with the spread of Luther Bibles from 1522), in use from the 15th century until it was eventually replaced by Fraktur around 1530, though it was still used alongside Fraktur for emphasis, much like we use bold or italic today.

Schwabacher Typeface
Textura Typeface

Another blackletter typeface developed between 1470 and 1600: Antiqua. This typeface’s letters were designed to look like the handwriting of ancient Roman documents, with the letters flowing together, strokes connecting them in a continuous line, whereas Fraktur was distinguished by having letters “fractured” – separate from one another. The Antiqua-Fraktur Dispute deserves its own article, so stay tuned!

Antiqua Typeface (Source: Wikipedia)
Fraktur Typeface (Source: Fonts in Use)

The Habsburg Emperor Maximillian I (1459-1519) was King of the Romans* from 1486 to 1519 [the title of king was used by the kings of East Francia, the territory later referred to as the Kingdom of Germany, from the time of Henry II (1002) to Joseph II (1764)]. The king commissioned the artist Albrecht Dürer to create a series of woodcut engravings of the Triumphal Arch [Though many are familiar with the Arc de Triomphe in Paris, it is only one example of this ancient Roman architectural feature used as a free-standing structure (rather than the Greek version, which was used within a structure such as a temple).]. These engravings would be used to create what we would recognize today as essentially wallpaper, though its purpose was more of a statement of power or propaganda (read personal marketing) commemorating his nobility, generosity, and military conquests – an incongruous combination, if you ask those conquered… The final composite of printed papers stood nearly 3 metres (12 feet) high and was only one part of a series of three enormous prints commissioned by the king.

Albrecht Dürer’s The Triumphal Arch, for Maximilian I

 The Fraktur typeface was designed in the 1530s by Hieronymus Andreae, a German woodblock cutter, printer, publisher, and typographer closely connected to Albrecht Dürer. The typeface was made to decorate the arch, telling the stories of the figures depicted throughout. The typeface became popular in Europe and was in use in the German-speaking world, as well as areas under its influence (Scandinavia, Central Europe, and some eastern European regions), into the 20th century. Specifically, Fraktur was in use in German until 1941, when it was actually banned (which places one of the books I purchased on Sunday within one year of the end of the era of Fraktur!). The atmosphere that led to that ban arose from the dispute mentioned above. Once the Nazis were defeated, the ban was lifted, but Fraktur never regained its widespread popularity after that, though you can still see it occasionally in pub signs or various forms of ads, like beer brands.

I just pulled two books from my library shelves: One is an English book originally printed in 1895, with my book being printed in 1915; the other is a German book printed in 1892. The typefaces are widely different: The English text likely used the French Oldstyle, while the German book uses Renaissance Fraktur for the text body, while the end pages act as indexes and use a variety of blackletter typefaces, such as Muenchner Fraktur, Antike Kanzlei, and Enge verzierte Altdeutsch. To see examples of the typefaces mentioned here, please click on the link for Fonts In Use.

I hope you enjoyed this jaunt through history! Nearly every name mentioned, every typeface, and every event deserves its own undusting. Next time, we’ll deep-dive into the dispute that lasted well over a century!

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Tasteful History: Hot Cross Buns

This “History Undusted” has a tasty twist: I’ll dive into the history behind this food popular throughout the English-speaking world and Commonwealth nations, and then I’ll include a recipe if you’d like to try it yourself.

Pompei Bread, AD 79

Hot Cross Buns can be traced back to the medieval period, though scoring the top of breads has been practised for thousands of years; a bread, found in the ashes of the volcanic eruption that wiped out Pompei, shows scoring – likely to make the portioning of the loaf easier; it’s a precursor to the sliced bread we know today. Early Hot Cross Buns used this knife-scoring; the version we recognize today was first introduced in 1361 by Brother Thomas Rocliffe, an English monk at St Alban’s Abbey, who made what he called the Saint Alban’s Bun; he distributed the baked goods to the poor and pilgrims on Good Friday. Many foods can be traced back to a specific holiday: For instance, when you think of a Christmas meal, wherever you are in the world that celebrates Christmas, specific combinations of dishes come to mind that you probably don’t eat at any other time of the year.

During the medieval period, the crossed buns would be hung from the rafters of houses for an entire year, believing that they would ward off evil spirits. During the 1600s, the Puritans put an end to that practice, and Queen Elizabeth I even banned the sweet breads, consigning them to consumption on Good Friday, Christmas, or at funerals (bad luck for the deceased, who missed the excuse for the treat). By the 18th century, it had become firmly associated with Good Friday. To give you a taste of history, click here to watch a short video from the York Castle Museum.

Today, all kinds of versions are on the market year-round, from the traditional, to chocolate, to Cheddar cheese and marmite.

So, without further ado, here’s a traditional recipe you can recreate for yourself.

Hot Cross Buns

To watch this recipe’s creation, click here. Below, I’ve listed out the ingredients and basic instructions, as used in this video by Chef Jack Ovens.

1½ C. (375 ml.) whole milk – heat the milk until just warm on the stove or in the microwave on short bursts, until around 104°F/40°C.

In a mixing bowl, add 1 Tbs./9gr. Dry yeast & 2 tsp. out of ½ C. sugar (the rest will be used later); pour in the warm milk and whisk until combined. Set it aside for 10 minutes to allow the yeast to feed off of the sugar. A froth will form, which means the yeast is active.

Add in 4 ¼ C. (640 gr.) bread flour

the rest of the ½ C. sugar

1½ C. sultanas (raisins) (you could substitute ¼ C. with candied orange for the traditional version)

2 tsp. ground cinnamon

2 tsp. ground allspice (cloves, for the traditional version)

The zest of 1 large orange

1 egg, beaten

50 gr. melted, cooled unsalted butter

¾ tsp. sea salt

Mix all of this until thoroughly combined – either using a mixer with a dough hook, or by hand.

Dust your workspace with flour, turn the dough out and knead for 8-10 minutes. Shape it into a smooth ball. In a greased mixing bowl, place the dough and cover with a warm, damp tea towel and allow to proof for 1 hour, or until doubled in size. When it’s risen, punch the dough a few times to remove the air; dust your workspace with flour and tip out the dough. Knead the dough to remove any air bubbles, then shape it into a log around 60 cm / 23 inches long. Slice that in half, then roll each section to a log to 40 cm / 15 inches long.

Slice each half into 6 even pieces; form each into a ball, tucking the edges underneath.

Line a deep-sided baking tray with parchment/baking paper, and lay your balls of dough in rows of 3 by 4. Cover with an oiled piece of plastic wrap to allow the buns to rise without sticking to a towel. Allow to proof for 40 minutes.

While it’s proofing this final time, preheat your oven to 180°C/350°F

To make the dough for the crosses:

½ C. /70 gr. bread flour

95 ml. cold water

Whisk these together until it forms a piping paste.

In either a piping bag with a 3mm nozzle or in a plastic bag with the corner snipped off, spoon in the dough and pipe it across the rows of buns, making sure to cover to the edges of the buns.

Bake for 20-22 minutes, rotating the tray halfway through. A few minutes before the buns are done, in a small bowl, mix:

½ C. / 110 gr. caster sugar

150 ml. boiling water

Mix with a pastry brush until the sugar is dissolved. Remove the buns from the oven and glaze them with the sugar water – just enough to cover each. This will give a nice crunch to the crust of the bun. Allow them to sit in the tray for a few minutes, then transfer to a wire rack. Slice, butter, and enjoy!

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Who’s Who in Quotes: Will Rogers

Will Rogers is one of those larger-than-life characters who seemed to have had his fingers in every pie imaginable: Born in November 1879 as a Cherokee Nation citizen in the Indian Territory now known as Oklahoma, he was the youngest of eight siblings, only three of whom survived into adulthood. His mother died when he was just ten years old. By the time he was 20, he’d begun appearing in rodeos, and in 1902 at the age of 22, he and a friend moved to Argentina to find work as gauchos (a skilled horseman, hired by ranchers in many South American countries). When their adventure failed, and they’d lost all their money, Will couldn’t bear to ask for money from home, so he took a boat to South Africa, where he was hired as a ranch hand. His career as a trick roper began there, as he joined the Texas Jack’s Wild West Circus. From there, armed with a letter of reference from Texas Jack, he moved to Australia and joined the Wirth Brothers Circus as a rider and trick roper. By 1904, he’d returned to the States and performed in the St. Louis World’s Fair, then began using his riding and roping skills in the Vaudeville circuits; he was often billed as The Cherokee Kid. His natural humour hit a chord with audiences, who loved his frontier twang of an accent coupled with his off-the-cuff wit and commentary on current events; he built his later career around that talent.

In 1908, he married Betty Blake, and they had four children; three survived into adulthood, all of whom went on to have careers in the public eye in one way or another.

By 1916, Rogers was a featured star in Ziegfeld’s Follies on Broadway; from there he branched off into silent films; at that time, most films were made in or around New York, which allowed him to continue performing on Broadway. The New York Times syndicated his weekly newspaper column, “Will Rogers Says”, from 1922 to 1935; he also wrote for The Saturday Evening Post; this progressed into books – over 30 of them. He also hosted a radio program, telling jokes and discussing current events with his simple, disarming humour.

Click here to see a short, 3-minute video showcasing some of his amazing rope tricks.

He was an avid supporter of the aviation industry, and he took many opportunities to fly to his various engagements. In 1926, while touring Europe, he saw how much more advanced the commercial services were there in comparison to the States; his newspaper columns often emphasized the safety and speed of travel aeroplanes offered, which helped shape public opinion about the new mode of transport.

In 1935, Wiley Post, a famous aviator of his time, proposed flying from the West Coast to Russia to find a mail-and-passenger air route, and Rogers asked to go with him in order to find new material for his newspaper columns. Post’s plane was modified for the long flight, and floats were added for landing on water. On 15 August, they took off from Fairbanks, Alaska, for Point Barrow, a headland on the Arctic coast. Bad weather hindered their ability to calculate their position, and, after landing in a lagoon to ask directions and taking off again, the engine failed at low altitude and plunged into the lagoon, killing both men. Rogers was 55.

In such a short life, he left a huge legacy in many fields of entertainment and helped shape public perspectives on politics and civil responsibility. He was a household name in the early 20th Century and a trusted voice during the Great Depression, identifying with the struggles of the average American and holding a mirror to politics with his witty satire.

Here are a few of his famous quotes:

  • Be thankful we’re not getting all the government we’re paying for.
  • Even if you are on the right track, you will get run over if you just sit there.
  • Everything is funny, as long as it’s happening to somebody else.
  • I don’t make jokes. I just watch the government and report the facts.
  • My ancestors didn’t come over on the Mayflower, but they were there to meet the boat.
  • Live so that you wouldn’t be ashamed to sell the family parrot to the town gossip.
  • The only difference between death and taxes is that death doesn’t get worse every time Congress meets.
  • The trouble with practical jokes is that very often they get elected.
  • There’s no trick to being a humorist when you have the whole government working for you.
  • This country has come to feel the same when Congress is in session as when the baby gets hold of a hammer.
Will Rogers

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Etymology Undusted: Murphy’s Law

The adage “Murphy’s Law” refers to the idea that anything that can go wrong will go wrong. You forget your umbrella and it will be sure to rain; your computer crashes at the worst possible moment; your worst itch is always where you can least reach it, and so on.

Similar sentiments are centuries old: E.g. Augustus D. Morgan, a British mathematician, wrote in 1866: “Whatever can happen, will happen”; Alfred Holt, an engineer, wrote in 1877: “It is found that anything that can go wrong at sea generally does go wrong sooner or later.” British stage magician Nevil Maskelyne wrote in 1908, “Everything that can go wrong will go wrong.”

But who was Murphy? And why is it his law? I’d always assumed that Murphy was either a fictional black sheep created to blame everything on, or someone from a century or more ago, much like Hobson of the “Hobson’s Choice” idiom; but Murphy’s Law comes from the 1940s aerospace era.

The “law” was coined by and named after Edward A. Murphy Jr. (b.11 January 1918; d.17 July 1990):  Born in the Panama Canal Zone in 1918, he finished high school in New Jersey and eventually graduated from West Point in 1940, joining the Army Air Corps, serving in the Pacific Theatre of World War 2, and in the Korean War, reaching the rank of major. According to his obituary on findagrave.com, he is credited with design work on crew escape systems for some of the most famous experimental aircraft of the 20th century, including the F-4 Phantom, the SR-71 Blackbird, the X-15 rocket plane, and later the Apache helicopter. He also worked on safety and life support systems for NASA’s Apollo space missions. Although he was apparently chagrined by the namesake, he believed in the concept as a key to good defensive design – that one must always assume worst-case scenarios and work to counter them in thorough planning, engineering and execution of mechanical designs.

Around 1948, Murphy and his team were testing rocket sleds, which were used to test the acceleration of equipment deemed too hazardous to test in a piloted aircraft and also to test missile components without risking actual (more expensive) missiles in the testing. The saying arose when training his engineers to avoid designing missile components that could be confused one for another; he said, “If a part can be installed in more than one position, it will be incorrectly installed in the field.” Perhaps Murphy was familiar with the sentiment of those past engineers, given his background in engineering, but wherever it came from, his name was attached and, as they say, the rest is history.

Edward Aloysius Murphy Jr, in his West Point uniform

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History Undusted: Shop Signage

I’m fascinated by a few aspects of architecture in particular, such as doorways, knockers, unusual features such as sundials on the sides of buildings, mural paintings (here in Switzerland, these are sometimes hundreds of years old), and shop signage – you’ll see the latter even in the smallest town here.

This past summer, my husband and I rented a motorhome and travelled mostly in eastern Switzerland. I would say that 90% of my photos were of shop signs! I find that if you focus in on one topic, you’ll begin to see that thing everywhere.

Known as commercial signage or trade signs, such symbols of a shop’s products have been used as far back as ancient Egypt. As many people were illiterate, the pictorial shop sign not only advertised what was for sale in a shop but also distinguished the shops with similar items. By the mid-15th century, English laws even required shops that sold ale to hang a shop sign out; it made inspections of the quality of the ale easier. Some signs were temporary; for instance, if a woman made more ale or bread than her family could consume, she would put out a sign to sell the surplus and thus earn a bit of money. In the narrow streets of medieval towns, signs might be so large as to nearly touch the building on the other side of the lane, and they could become a hazard to passing horsemen or coachmen. By the mid-16th century, regulations were passed to limit the size of signage, and the securing of the sign to the building to avoid it endangering passersby. In Britain, hanging signs were eventually phased out in favour of what were are most familiar with – a flat sign denoting the store along the space above the front windows. But here in Switzerland, shop signage is everywhere – not just old, but also newer additions.

The development of the signs, including elements of guilds or heraldry symbols, led to competition between blacksmiths to create the most elaborate ironwork. The signs evolved from simple displays of ware to symbolic representations of a shop owner’s name or a heraldic connection or patronage of royalty (e.g. a crown). Examples might include shoemakers displaying a shoe or gilt boot, bakeries displaying bread, and haberdasheries displaying a needle and thread or a coat.

Here is just a fraction of the signs I photographed during our holidays, with brief explanations:

The building from which this sign hangs was built originally in 1664, and renovated to the current form in 1830. It was originally an inn/tavern on one side, and a forge (blacksmith) on the other. The Raven, as a tavern, took its symbol from the legend of St. Meinrad (797-861 AD); he was a hermit who rescued two young ravens from a sparrowhawk and raised them in his hut in the Finstern Wald (dark forest). In 861, he was murdered by two robbers; when they realized what they’d done, they fled to Zürich, but the crows followed them into a tavern and attacked them; the others present thought it unusual, so they took the men captive; they confessed, and were executed. The raven became a symbol of inns along a pilgrimage road; it was sometimes combined with a wine jug and bread.

The Hotel Santis sign has a few symbols: The wine is an obvious reference to a tavern, pub or inn; the pine cone is an interesting addition: It was the symbol of the field sign of the Roman legion stationed in Rhaetia in 15 BC, and hence it is used as a heraldic charge (an emblem on a shield). It may have been included in this sign to proclaim a good place for soldiers to eat or sleep, or as an advertisement that it was protected under a legion or unit of the military at a time when such protection would have been welcome. The bell symbolized a pilgrimage or an invocation of guardian angels over a premises.

I think this is fairly clear – it’s a bakery!

This building is a pharmacy; the front of the building is a beautiful example of the mural painting I mentioned earlier; these panels represent the herbs and flowers used medicinally. The saying painted toward the right side reads: Vielerlei Kraut gegen Leibesnot, aber kein einzigs wider den Tod (Many herbs against bodily pain, but none against death).

This symbol denotes a carpenter’s shop.

This café sign would be clear from any stagecoach stopping for a break and horse change what could be expected inside. The figures are dressed in traditional Appenzeller clothing.

And lastly, here’s a traditional sign with a modern addition: It’s a hunting lodge, or inn that serves wild game meat. Next to it, peeking around the corner, is a figure from a toy shop.

 I hope you enjoyed this little excursion!

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History Undusted: 15 January

Unless you’ve been busier than I‘ve been, you’ll have realized that half of January 2025 is already gone. The end of 2024 was crazy busy, and after the dust of the Christmas holidays settled, life was about getting caught up with all of those little things that had been neglected for a couple of months.

I’ve thought about how I want to go forward with this blog in the coming year; I enjoy having this platform to dive into topics I might not otherwise encounter in my day-to-day life, but life in the real world has many facets that keep me busy, too. I’ve decided to post roughly once per fortnight, giving me time to live, write/edit/publish, and research topics of interest. I’ve always tried to write quality above quantity, and I want to share things that interest me, grab my imagination, or give me a good laugh. If you feel the same, sit back and enjoy the ride!

Since this is mid-January, let’s take a look at some of the highlights of history on this day, the 15th of January:

1541: A commission to settle New France (Canada) was granted by King Francis I of France.

1559: Queen Elizabeth I was crowned Queen of England in Westminster Abbey, London.

1759: The British Museum opened to the public for the first time.

1777: In the American Revolutionary War, New Connecticut (Vermont) declares its independence.

1782 – The U.S. Congress was petitioned to establish a national mint and decimal coinage.

1870 – For the first time, a political cartoon symbolizes the Democratic Party with a donkey (“A Live Jackass Kicking a Dead Lion” by Thomas Nast for Harper’s Weekly).

1889 – The Pemberton Medicine Company (later to become known as the Coca-Cola Company) is incorporated in Atlanta.

1908 – The Alpha Kappa Alpha sorority becomes the first Greek-letter organization founded and established by African American college women.

1919 – Great Molasses Flood (a wave of molasses ejected from an exploding storage tank) sweeps through Boston, Massachusetts.

1943 – The Pentagon is dedicated in Arlington County, Virginia.

2001 – Wikipedia, a free Wiki content encyclopedia, is launched (Wikipedia Day).

2009 – US Airways Flight 1549 ditches safely in the Hudson River after the plane collides with birds less than two minutes after take-off. This became known as “The Miracle on the Hudson” as all 155 people on board were rescued. This story was adapted for the “Sully” film in 2016.

2015 – The Swiss National Bank abandons the cap on the Swiss franc’s value relative to the euro, causing turmoil in international financial markets.

2022 – The Hunga Tonga-Hunga Haʻapai volcano erupts, cutting off communications with Tonga and causing a tsunami across the Pacific. It was the largest volcanic eruption since the 1991 eruption of Mt. Pinatubo (Philippines).

Which of these events do you find most interesting? Please comment below and let us know! For me personally, it’s the opening of the British Museum. What was it like back in 1759, and how has it evolved into the massive collection it is today? I’ve been there a few times, but I have yet to see it all!

This is AI’s interpretation of “ancient scroll rolled up”. No idea where the man came into that result, but his longsuffering expression is apt!

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History Undusted: The Great Vowel Shift

My husband and I were having lunch recently, and a package of Swedish crackers was on the table; I pointed to the brand name, Pågen. In English, our pronunciation of these vowels would lead us to say pagan /pæg-in/, whereas the Swedish would rather be more like /po-gen/. I just mentioned that English might have sounded similar to that before the Great Vowel Shift, which he’d never heard of (being Swiss, it’s not likely he would be familiar with this aspect of English etymology), so I promised to write a blog about it; here we go!

The term Great Vowel Shift was coined by the Danish linguist, Otto Jespersen (1860-1943), who specialised in the English language. Though the GVS is considered a single event (because of the changes being viewed as part of a chain reaction, with each vowel sound changing in a predictable way), the actual transition of English pronunciation was gradual, taking place over about 200 years, from ~1400 to ~1600. The shift began in Middle English, which was spoken from 1066 until the late 15th century – that form familiar to Geoffrey Chaucer (though his pronunciation would be unintelligible to us, his words still survive through his famous Canterbury Tales) – into Early Modern English (from the beginning of the Tudor period through to the Stuart Restoration period); Shakespeare would have been familiar with it. From there, English transitioned into Modern English in the mid-to-late 17th Century.

The main changes were that, from Middle to Early Modern English, the long vowels shortened; weef became wife, moos* became mice, beet became bite, and so on. (*The word moose entered English through Native American languages in 1610). I will also mention that in Scottish, a lot of the older vowel pronunciations still exist; house is still huus, full is homophonous with fool, etc.

Here’s a look at just how the English vowels shifted:

Source: SlideShare

If you’ve been paying any sort of attention to English, you’ll know that our spelling is a bit chaotic; the language is full of homonyms, which are divided into either homophones (words that sound the same but have different spellings, e.g. beet and beat; bear and bare; to, too and two), or homographs (two words with differing meanings, same spellings, but not necessarily the same pronunciation: e.g. bank [of river; finance] or agape [with mouth open; love], or entrance [a way inside; to delight]) or tear [ripping; crying]. These -graphs and -phones came into English from regional dialects that were transported as migration and cultural mixing took place, and the GVS added its two pennies to the mix. Just think of the variety we have in the sounds /ea/ (bread, beat, bear, break); /oo/ (look, spool, blood); or /gh/ (through, cough, sight).

Certain factors contributed to the speed of language shift: The Black Death (1346-1353) wiped out up to 50% of Europe’s population. Stop a minute and let that sink in. What if the population of your town were reduced by half? And the next town, and the next. That single event changed the course of history on many levels; surfs could finally demand better wages wherever they ended up settling; if you lived in a town that no longer had the skills of a baker, blacksmith, or any other trade you’d depended on, you’d move to where those services existed – and jobs existed – and that meant places that had been hit the hardest by the plague and thus where everyone else was migrating, such as London. As mass movement followed the epidemic, people brought their dialects and their spellings with them. It began to converge into a new, distinct way of speaking, thinking and spelling. The geopolitical climate of the time also influenced English; England and France have been annoying each other for over a thousand years; whenever England was enamoured by all things French, they tried to emulate their pronunciations. That influence came and went; in one such moment, the pilgrims set sail for America (1620), taking a time capsule of the language with them, while England’s English continued to be influenced by French up until the French Revolution, when it quickly fell out of favour in England, though the changes had already taken place (one example is the American /k/ in schedule, closer to the original Latin, while the English say /sch/ without the /k/, which is closer to the French cedule). This factor of influence also affected differences of speech between the lower class and upper class at that time; the upper class wanted to sound more posh, more fashionable, and above all, not like the lower class.

A major contributing factor to our chaotic spelling is that ca. 1440, the Gutenberg printing technique was introduced, and by the 1470s, William Caxton had imported the invention to England; we have him to thank for Chaucer’s Canterbury Tales being known today, as that was the first book he printed in England. We also have him to thank for the influence of Chancery English (the English used by the secretariat of King Henry VI) in the standardization of the language, as he used it as his own guidelines in printing. The vowels had already begun to shift by that time; enter the written word, a rise in literacy, and you have the jumbled effects of “mid-shift” on English spelling – people began to adapt their pronunciation to the written word, so whichever form the printer used is the one that began to prevail, even though some sounds were still in transition. Like nailing down jelly. You could say that many of our odd spellings are simply a snapshot in time.

It is also important to point out that the GVS didn’t have the same influence everywhere: The main changes occurred around London, but the farther away you move from that epicentre, the less the effects on the local dialects, which still holds true today – though gradual merging has allowed people from, say, Cornwall, to understand people from Yorkshire – which wouldn’t have been the case centuries ago. Even though they can understand each other, their dialects are still distinct. I’ve already mentioned that Scots English (as opposed to Gaelic) still retains many of the longer vowels long since lost in standardized English; being so far from London, they simply ignored them. English may be taught in their schools, but Scots dialects prevail in the home and hearth. Regional dialects in English exist the world over, and though spelling and pronunciation may differ from region to region, and the language continues to be a living, breathing, growing and changing being, it’s still a language that enables the modern world to communicate, whether English is their mother tongue or not.

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