Etymology
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talisman (n.)
1630s, "magical figure cut or engraved under certain observances," from French talisman, in part via Arabic tilsam (plural tilsaman), from Byzantine Greek telesma "talisman, religious rite, payment," earlier "consecration, ceremony," originally in ancient Greek "completion," from telein "perform (religious rites), pay (tax), fulfill," from telos "end, fulfillment, completion" (see telos). The Arabic word also was borrowed into Turkish, Persian, Hindi. Related: Talismanic; talismanical.
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*kwel- (1)
also *kwelə-, Proto-Indo-European root meaning "revolve, move round; sojourn, dwell."

It forms all or part of: accolade; ancillary; atelo-; bazaar; bicycle; bucolic; chakra; chukker; collar; collet; colonial; colony; cult; cultivate; culture; cyclamen; cycle; cyclo-; cyclone; cyclops; decollete; encyclical; encyclopedia; entelechy; epicycle; hauberk; hawse; inquiline; Kultur; lapidocolous; nidicolous; palimpsest; palindrome; palinode; pole (n.2) "ends of Earth's axis;" pulley; rickshaw; talisman; teleology; telic; telophase; telos; torticollis; wheel.

It is the hypothetical source of/evidence for its existence is provided by: Sanskrit cakram "circle, wheel," carati "he moves, wanders;" Avestan caraiti "applies himself," c'axra "chariot, wagon;" Greek kyklos "circle, wheel, any circular body, circular motion, cycle of events,"polos "a round axis" (PIE *kw- becomes Greek p- before some vowels), polein "move around;" Latin colere "to frequent, dwell in, to cultivate, move around," cultus "tended, cultivated," hence also "polished," colonus "husbandman, tenant farmer, settler, colonist;" Lithuanian kelias "a road, a way;" Old Norse hvel, Old English hweol "wheel;" Old Church Slavonic kolo, Old Russian kolo, Polish koło, Russian koleso "a wheel."
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porcelain (n.)

ceramic ware having a translucent body, and, when it is glazed, a translucent glaze, 1530s, from French porcelaine and directly from Italian porcellana "porcelain" (13c.), literally "cowrie shell;" the chinaware being so called from resemblance of its lustrous transparency to the shiny surface of the shells. As an adjective from 1590s.

The shell's name in Italian is from porcella "young sow," fem. of Latin porcellus "young pig," diminutive of porculus "piglet," itself a diminutive of porcus "pig" (from PIE root *porko-"young pig"). Compare Greek khorinē "cowrie," also literally "a little pig." 

According to an old theory, the connection of the shell and the pig is a perceived resemblance of the shell (also Venus shell) opening to the exposed outer genitalia of pigs. For a different answer, Century Dictionary (1897) writes that the shell was "so called because the shape of the upper surface resembles the curve of a pig's back."

Thompson ["A Glossary of Greek Fishes"] writes, "According to a widespread belief the cowries were a charm or talisman against sterility. They are among the women's ornaments at Pompeii, and are found in women's graves in France and England as late as the Middle Age ...." He writes that the bigger, showier shells, from the Red Sea, probably account for the "popular and erotic names," but adds that the association of the shells with female sex is almost worldwide.

porcelain is china & china is p.; there is no recondite difference between the two things, which indeed are not two, but one; & the difference between the two words is merely that china is the homely term, while porcelain is exotic & literary. [Fowler]
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mascot (n.)

"a talisman, charm, thing supposed to bring good luck to its possessor," also "person whose presence is supposed to be a cause of good fortune," 1881, from provincial French mascotte "sorcerer's charm, 'faerie friend,' good luck piece" (19c.), of uncertain origin, perhaps from or related to Provençal mascoto "sorcery, fetish" (a Narbonnese manuscript of 1233 has mascotto "procuress, enchantment, bewitchment in gambling"), from masco "witch," from Old Provençal masca, itself of unknown origin, perhaps from Medieval Latin masca "mask, specter, nightmare" (see mask (n.)).

Popularized by French composer Edmond Audran's 1880 comic operetta "La Mascotte," about a household "fairy" who gives luck to an Italian peasant, which was performed in a toned-down translation in England from fall 1881. In reference to animals (later costumed characters) representing sports teams, by 1889.

For the edification of readers not versed in baseball lore it should be stated that the mascot has become quite an important institution among the professional teams of America. He may be a boy possessed of some special attainment or physical peculiarity, or he may be a bull-pup with a prominent patch over his left eye. It matters not whether a mascot be brute or human, so long as his presence upon the players' bench insures a victory—in the minds of the players—to the team with which he has cast his fortunes and in whose favor he exercises the influence he is supposed to have with Dame Fortune. [Harry Clay Palmer, ed., "Athletic Sports in America, England, and Australia," New York, 1889]
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