On the Beauty of Racing Engines, Part 1: Classic Era (Delage, Bugatti and Alfa)

Once a year, the Collier Collection at the Revs Institute features a Hoods Off Exhibit*, and this past July, old friend Paul Anderson made a pilgrimage to Naples, Florida to take some pictures. The resulting photos are a reminder that the basics of the modern engine were established before World War I, and that racing engines are still beautiful to behold. For more than the first decade of the 20the century, racing engines, like most automobile engines, tended to be large and slow-turning, with low power outputs per unit of displacement. The Marmon* Wasp which Ray Harroun drove to victory in the 1911 Indianapolis 500, and the first car credited with a rear-view mirror, had an engine which was essentially the four cylinder T-head Model 32 with two more cylinders. Model 32 developed its 70 horsepower from 354 cubic inches.  The 3 liter 1913 Peugeot pictured below changed all that...

When privateer Arthur Duray entered chocolatier Jacques Menier's  90 hp car in the 500 for 1914, he was not taken seriously by other drivers.  After all, the Peugeot factory's entry consisted of 5.6 liter cars, and Delage had entered its 105 hp GP cars.  The other drivers called Duray's mount "the baby"…until he broke the Indy lap record at 99.85 mph.  Imagine, for a moment, averaging almost 100 mph on the narrow tires available back then, and on a track known as the Brickyard for a reason.  In the race itself, Duray led for a few laps, but averse to damaging his friend Menier's baby, was content to finish second behind a Delage...

That second-place finish was considered a triumph of small, high-output engines over lumbering trucks, and by the Twenties all engines raced at Indy reflected the influence of engineer Ernest Henry's design for Peugeot. His inline four featured double overhead camshafts, four valves per cylinder, and made half a horsepower per cubic inch; it was only 6 cubic inches bigger than a Ford Model T.  The exposed valve springs were soon to disappear from Henry's designs.  The Peugeot on display at the Revs Institute is the actual car that Duray drove to humble most of the field at Indy... 

Duray's countrymen at Delage* were among the first to learn these lessons.  Designer Albert Lory's 1926 GP engine had half the displacement of the Peugeot, at 1.5 liters.  While it shared the twin overhead cam configuration, its eight cylinders had two valves each, and the Roots-type supercharger allowed 170 horsepower at a shocking 8,000 rpm, or nearly 2 hp per cubic inch... For 1927, the model year shown, Lory redesigned the engine to reverse intake and exhaust manifolds, and thus to move the hot exhaust pipe away from the driver, who needed to stay on the right for the clockwise tracks. This was Lory's masterpiece, and race results were good enough that Louis Delage retired his firm from racing after that year. How good were the results? Robert Benoist won every race he entered, becoming the first world champion driver ever...

In 1915, a racer came to Los Angeles carburetor builder Harry Miller with a broken Peugeot racing engine like the one from the previous year's Indy 500.  Unable to source parts from a war-ravaged France, he asked Miller to rebuild it.  Miller effectively made a new Peugeot engine, and incorporated the Peugeot's key features into his own subsequent racing engines, including twin overhead cams and four valves per cylinder.  Miller built both 4 and 8 cylinder engines, including the inline 122 cubic inch four that powered a Duesenberg to victory in the 1922 Indy 500. Between 1922 and 1938, Miller engines powered cars to 12 victories at Indy, half of them in chassis also built by Miller.  The Miller designs became the basis for the Offenhauser engines that dominated Indy, and in smaller 110 cubic inch size, midget car racing, for decades.

At his workshops in Molsheim, Alsace Lorraine, Ettore Bugatti answered the twin-cam designs of Delage and Miller by issuing the Type 51 in 1931; it was essentially a twin-cam version of his famous 2.3 liter Type 35 inline eight, supercharged and now with 160 hp.  The road-going Type 55 below dates from 1933 and has a version of the T51 engine expanded to nearly 3 liters. Supercharged and with 2 valves per cylinder,  the T55 made 135 hp at 5,500 rpm.

Art historians have suggested that the shear, sharp-edged rectangular masses and pure cylindrical shapes on Bugatti engines were inspired by Cubism, but based upon the recollections of those who worked in, or visited, the Molsheim factory in the 1930s, a more likely explanation for these pure geometric solids could be the limitations imposed by Bugatti's machine tools. Whatever the reason, the purity of form, and details like the hand-tooled pattern on the cam covers, will always be associated with Bugatti, and with high performance engines.

One of Bugatti's chief competitors, Alfa Romeo began producing a road-going version of its GP car, VIttorio Jano's 8C2900, in 1936.  Alfa entered 3 cars in the 1936 Mille Miglia, and they finished in 1-2-3 order.  By 1938, the 8C32900B was developing 180 hp at 5,200 rpm from the twin-cam, supercharged inline eight with 2 valves per cylinder. The alloy blocks were cast in unit with the heads, and two four-cylinder units were separated by the central gear tower which drove the cams.  As with the Bugatti, the Alfa designs of this period had a visual harmony and dedication to detail that created a performance image for their maker.  

The 3 liter, supercharged DOHC V-12 of the 1939 Mercedes-Benz W154 (Chassis 15, the last) reflects the cost-no-object racing juggernaut of the German government-supported teams, both Mercedes and Auto Union.  This car won the Belgrade Grand Prix on the day that another juggernaut, the Nazi army, invaded Poland. The engine on this car is always exposed, as the bodywork has been cut away on one side to display the chassis.  The forms and details of the engine and related plumbing betray none of the regard for visual artistry shown in the Bugatti and Alfa; they are, instead, a workmanlike assemblage of elements in constant need of attention from a flotilla of factory-trained mechanics in order to perform as designed.  An example of this approach is the rearward tilt of the engine block...

When American Don Lee entered a W154 in the 1947 Indy 500 (photo below), mechanics left the engine idling for a long warm-up during practice, and due to this tilt, fuel collected in the cylinders at the rear, resulting in broken connecting rods and a broken piston. Enterprising machinists fabricated a new piston and rods from drawings which were (amazingly) on hand, but the piston failed again in the race, with Duke Nalon at the wheel. In a reversal of the old Subaru slogan, it appears the W154 was designed to be expensive…and to stay that way.

This completes our review of racing engines during the Classic Era.  In the next installment we'll have a look at the innovations, and repetitions, of the postwar era.

*Footnote:  Engineer Howard Marmon's innovations are summarized in "Looking Back: When Indy Was Indie", from 9/1/15. Delage racing and touring cars were featured in "Delage: A Car for the Ages", our post for 5/20/18.  The Bugatti Type 57 Atlantic was featured in "Authenticity vs. Originality: A Tale of Four (or Five) Bugattis" in our Archives for 6/11/17.  And the lone Atlantic-style Bugatti Type 51 can be viewed in "On a Lazy Afternoon in 1987: Inside Bob Sutherland's Garage", from 5/18/19.  This summer, the Revs Institute Hoods Off exhibit ran from mid-June through the end of July.  Check the revsinstitute.org website for next year's exhibit and other special events.  

Photo Credits:  All photos were provided by Paul Anderson, except for the Mercedes W154 (by the author), the W154 at Indy (wikimedia) and the Alfa 8C2900B (the Revs Institute Collier Collection.). 

The Etceterini Files Part 20---Monteverdi and MBM: Outsourcing and Branding

Monteverdi, the specialist firm active from the Sixties until the mid-Eighties, would seem at first a bad fit for the Etceterini Files.  First of all, it was mostly known for large GT cars powered by Chrysler V8s. Secondly, the company was not Italian and was headquartered in Binningen, Switzerland, where Peter Monteverdi took over a repair garage operated by his father and began building and racing Formula Junior single seaters in the late 1950s.  His first cars, called MBM for Monteverdi Binningen Motors, followed the etceterini formula though, as the chassis, engines and bodywork were all subcontracted to outside suppliers. Around 1960, Monteverdi offered a two-seat sports racer built around an 1,100cc twincam four sourced from OSCA*, with 4-wheel disc brakes and a De Dion rear axle.  The alloy "wobbly web" wheels followed contemporary Lotus and Cooper practice.  

Monteverdi's asking price was high enough to prevent any sales, so apparently only one OSCA-powered car was built.  In an attempt to lower prices, he offered the coupe below with British-built body from Heron Plastics and chassis with Ford 105E power, but apparently no more than two of these British Herons rebranded as MBMs were assembled. In 1961 Monteverdi commissioned an MBM Formula 1 car around a Porsche Type 718 engine obtained on the private market when Porsche refused to sell him an engine.  The resulting car gained no points in GP racing.

                                   

But by this time Monteverdi, always alert to opportunities to expand his business, had expanded the repair garage to include a dealership selling  new Lancias, BMWs and Ferraris. This went very well until 1963, when Enzo Ferrari demanded that Monteverdi accept delivery of 100 new cars and pay in advance for all.  

                                     

Monteverdi declined, and eventually decided to fill the Ferrari void in his dealership by building his own GT cars.  The first car surfaced in 1967, a 2 seater coupe with alloy coachwork from Torinese coach builder Pietro Frua on a sturdy chassis of square steel tubes provided by Stahlbau Muttenz GmbH.  The engine was a 440 cubic inch Chrysler V8, and there were disc brakes all around.  Peter Monteverdi had thus joined the ranks of fledgling auto makers propelled into manufacturing GT cars by fury at Enzo Ferrari.  He was in good company that included Ferruccio Lamborghini, Renzo Rivolta (the Iso Rivolta*), Count Gianni Volpi (A.T.S.*, followed by Serenissima*) and Giotto Bizzarrini.*

Frua's glassy, fastback greenhouse had some of the flavor of his work on the Maserati Mistral as well as the AC 428 coupe, while the proportions and low nose may show the influence of Giugiaro's Maserati Ghibli for Ghia Studios, which had appeared late in fall of 1966.  Front suspension was independent by coil springs, while there was a De Dion arrangement at the rear.

Eleven of the Frua-bodied 375S High Speed coupes would be built in 1967-68.  In addition, Frua built two of the glassy. elegant 375L model shown above before his relationship with Monteverdi soured, apparently over the cost of bodywork.  One of these coupes was reportedly sold to AC Cars as a template for a four-passenger AC 428; the other car also survived.  Then Monteverdi outsourced the job of supplying bodywork to Fissore, also in Italy.

Fissore built a few cars to Frua's design before offering up their own interpretations of the luxury GT formula.  Those included  a small number of 375C convertibles on the 105 inch wheelbase "standard" chassis (shown above and below), with "sugar scoop" headlight detail, and in 1975 a lone Palm Beach prototype with a 98 inch wheelbase and low, rectilinear grille enclosing headlights more like the first Frua coupes.

Some time after Fissore took over supplying bodies, they restyled the 375L, still with Chrysler V8 power in the square tube chassis, and it became a production car by Monteverdi standards.  The 375L accounts for a high percentage of the GT cars Monteverdi built through 1976, with as many as 50 produced.  In the photo below, one of these cars rests below a Lamborghini Miura from the same period, which the Swiss museum curators have casually tossed onto an overhead shelving unit...

There was also a 375/4 four-door sedan (below) on a 125 inch wheelbase.  Retaining a low roofline, as on the coupes, Fissore gave the car the visual flavor of a stretched "standard" sedan, but of course there were no standard sedans (or really, standard anything) from the company.  By Monteverdi standards the 375/4 was a sales success, with around 30 produced. 

If Monteverdi had a magnum opus, it was probably the Hai (German for shark) 450 series, though it was barely a series as the firm only produced two cars from 1970-73, using them primarily to attract attention at auto shows. Though a mid-engined GT coupe powered by a Chrysler 426 Hemi (the first car, the 450SS) was bound to attract attention and some orders, Monteverdi declined to release the 450SS, then developed the 450GTS around a longer wheelbase and a Chrysler 440 V8.  Eventually the short-wheelbase car made it into private hands in the USA, and Monteverdi built two additional Hai coupes for his museum.

The Transport Museum has mounted an instructive display of the Hai chassis (sturdy square steel tubes again), wood body buck from Fissore, and  last in the lineup a completed Hai 450 in red.

The body buck shows the same careful workmanship that was evident on Fissore's completed bodies.  Note the recessed areas for the hood and headlight doors in the front view above. Peter Monteverdi claimed to have designed this car, but so did Trevor Fiore, who had designed a body with similar greenhouse, creased flanks and tapered tail for the Alpine Renault A310*.  Fiore also had experience with Fissore, having designed some TVR prototypes* which were fabricated by the firm.

Monteverdi did let out the Hai prototypes for testing, and the 440-powered long wheelbase GTS posted a higher top speed (174) than the SS (168).  Zero to 62 (100 kph) happened in 5.5 seconds, though weight was higher than the factory claimed, at over 3,800 pounds.  The original car, shown below in a beguiling shade of metallic raspberry, changed hands at least once after coming to the United States.  It marked the high water mark for the Swiss car builder's fame, but not commercial success.

That came later, with humble vehicles based upon the International Scout.  From the late 70s until Scout production ended in 1980, Monteverdi offered a Scout re-trimmed, inside and out, and with the 345 cubic inch International V8, or with a diesel option and re-branded it as the Monteverdi Sahara.  Monteverdi had seen the success of the Range Rover introduced earlier in the decade, and sensed a trend...

He exploited the higher end of the booming marker for SUVs by having Fissore completely restyle the Scout into something called the Safari…Monteverdi apparently didn't know or care that Pontiac used that name for its wagons.  The design, which went into production in 1977, was crisp and clean if not groundbreaking, and engine options included the Chrysler 440 as well as the Harvester V8.  Monteverdi now broke into triple digits in annual production for the first time, and hundreds of the Scout-based cars were sold by the time production ended in 1982, as Scout production in the US had ended after 1980.

Seeing profit possibilities in re-skinning American cars, Monteverdi took advantage of his relationship with Chyrsler to secure a supply of Dodge Aspens which he had Fissore restyle at the Monteverdi Sierra from 1977 to 1980.  Front and rear styling was cleaner and crisper than the Chrysler originals, but only around 20 customers showed up.  Most of them got the 4-door sedan shown below, though there was a lone wagon prototype.

There were also two or three of the handsome convertibles shown below, interesting as Chrysler had decided not to offer Aspen convertibles of its own.  The experiment ended when the rear-drive Aspen / Volare platform was discontinued for 1981.

After the success with the Scout rebodies, Monteverdi outsourced Range Rover 4 door conversions to Fissore starting early in 1980, with Rover's cooperation. After Monteverdi succeeded in selling a couple hundred, Land Rover management saw the value of making their own, and Monteverdi stopped production in 1982. That year and in 1983, the company offered something called a Monteverdi Tiara, which turned out to be an S-Class Mercedes outfitted with generic, uninspired grille and tail lights.  It was as if Monteverdi was aiming at Eastern Bloc apparatchiks who wanted Mercedes luxury but were embarrassed to be driven around behind the three-pointed star. The public responded with a yawn (if Daimler-Benz expressed an opinion, it has not been recorded), only 3 Tiaras were built, and in any case the Berlin Wall came down by the end of the decade, so the apparatchiks could become oligarchs and buy Bentleys. Monteverdi production ended in 1984… 

...for a few years.  In 1992, Peter Monteverdi decided to capitalize on his involvement with an expired F1 team by building an F1 supercar for the road.  It wasn't the world's most original idea (the Bugatti EB110 and McLaren F1 were hatched in the same era), but Monteverdi gets points for being involved with possibly the world's most honestly named GP team: Moneytron.  The Hai 650 F1 emerged with a chassis based on the Onyx Moneytron car, and a detuned 3.5 liter Ford DFR V8 making around 650 hp.  As with the earlier Hai 450 series,  at least two cars were built, and two were in the Monteverdi Museum until it closed in 2017.  Peter Monteverdi died in 1998.

*Footnote:  Most of the Motneverdi GT cars shown are on exhibit at the Swiss Museum of Transport in Lucerne.  Other cars on exhiibit at the museum are shown in our for July 4, 2019, "Roadside Attraction: Swiss Museum of Transport—Alfa to Zagato, and Everything in Between."  OSCAs are featured in "The Etceterini Files Part 7—Almost Famous:  OSCA", posted on April 20, 2016. Carrozzeria Fissore's Vemag DKW is shown in our Archives in the post for  August 29, 2017:, "Audi's Intermission: DKW Monza, Puma and Fissore."  Trevor Fiore's TVR Tina prototypes are shown in "Rootes in Foreign Soil", posted on March 31, 2018, and his design for the Alpine A310 appears in "The Car Search Part 2: The Fun Factor," in the Archives for April 24, 2016.  And readers should see the Archives for posts devoted to A.T.S., Bizzarrini, Iso-Rivolta, and Serenissima in the past year...

Errata:  The first version of this post commented that "Berlin fell by the end of the decade" in reference to the Berlin Wall.  The intention was to say the Berlin Wall fell in November 1989.  As is widely known,  the city of Berlin itself fell in May 1945. 

Photo Credits:  Photos inside the Transport Museum were provided by George Havelka. The other photos were sourced as follows, listed by car type:

MBM Sports:  Carl L. Wagner
MBM Coupe, Monteverdi Sierra sedan and convertible, Monteverdi Safari, Tiara and 650 F1: wikimedia.
Outdoor photo of red Monteverdi High Speed Frua coupe + shot of orange Monteverdi Sahara: enwheelsage.org.
Monteverdi 2+2 Frua prototype (silver blue car):  Carrozzeria Frua.
Monteverdi Hai 450SS rear view:  Fantasy Junction.

Roadside Attraction: Swiss Museum of Transport----Alfa to Zagato, and Everything in Between

The Swiss Museum of Transport in Lucerne is the most-visited museum in a country that is no stranger to visitors.  It embraces all modes and scales of transport, so it's a good place to refresh your memories of the Convair 990 jetliner (a real one, not a model) as well as to renew your acquaintance with the Fiat Topolino. There's also one of each type of the high-performance Swiss marque Monteverdi, enough cars that we'll save some for the next post. The Museum has so many cars, trucks, motorcycles and bicycles that they they are stacked like Dinky Toys on huge metal shelves, in what looks like a burst of casual, offhand showmanship...

In the shot below, we see an NSU Ro80* (twin-rotor Wankel, front wheel drive) at the top, a Dyna Panhard Z (air-cooled flat twin, also a front-driver) in the center, and below it what looks like an Austin 7 from the early 1920s.  Just visible in the second rank is a Renault R16 (1965-80) and below it, an Alfa Romeo GP car from the early 1930s. 

Here's that Topolino, one of the later versions of the car that put Italy on wheels (1936-55), with a late 50s Borgward Isabella coupe leading a mid-Sixties Corvette Stingray in the space just beyond...

The Transport Museum's current exhibits focus on designs by Ercole Spada for Zagato, as well as those by Franco Scaglione* for Bertone. The car shown below is one that you may have never seen, even if you're an Alfa Romeo fan. It's one of two prototype Giulietta spiders made by Bertone to a design by Scaglione.. The frontal aspect reflects some forms and surfaces from his Alfa 2000 Sportiva of 1954. Bertone got the contract to mass-produce Scaglione's design for the Giulietta Sprint coupe also on display, but the Bertone spider remained a prototype...

Two prototypes, actually. The two-tone car shown here was built in 1956 on chassis #149500004. Note the upright, oblong tail lights which finish off the rear fenders, as on the Sprint coupe...

Bertone built an earlier version of the design in 1955, and that featured well-hidden tail lights, along with curving, creased fender tops forming gently rounded fins, a bit more like Scaglione's Arnolt Bristol from 1954...

Another Scaglione design, the Sprint Speciale below, was built in larger numbers on both Giulietta (1300cc) and Giulia (1600cc) chassis from 1957-65, and production including both types totaled 2,766. The Swiss Museum's example, though, is a rare "low nose" from very early in the production run, and features the lower hood line with simple oval air intake, lacking the traditional triangular Alfa grille which appeared on later examples.  The teardrop-shaped cabin, parabolic arc-shaped windshield and backlight, and side glass curved in plan are common to all versions.

Though the car below appears to be from the mid-1960s, it's actually a 1956 Alfa Giulietta Sprint rebodied by amateur road racer Aristide Molteni with a more aerodynamic nose, then a whole new low-roof body to keep it competitive against the Alfa Sprint Zagatos. Sharp eyes comparing it with the Sprint Speciale above will note that the Molteni car apparently uses the same windshield.  The exhibit catalog does not indicate whether Molteni ever designed any other cars...

Zagato bodied special Alfas during this period as well, and the museum exhibits include this 6 cylinder 2600 SZ. Unlike the four-cylinder 2000 that came before it, the 2600 SZ has an aluminum engine based loosely on the architecture of the Giulietta.  Unlike the smaller Alfa Zagatos intended for racing, the body here is steel, not aluminum.  The oblong headlights predicted an Eighties styling trend about a decade and a half early...

The legendary Giulia TZ (below) from 1963-67, later called the TZ-1 to differentiate it from its fiberglass-bodied successor, was bodied in aluminum on a rigid, light tubular steel frame (thus the T for Tubolare). Styling by Ercole Spada was tightly wrapped around the mechanicals and the cabin.  The highest-optioned racing versions featured twin-plug cylinder heads on Alfa's classic twin-cam four.  The museum's current retrospective of Spada designs includes drawings and sketches along with the finished cars.

The 1,450 pound TZ featured a special sump casting to compensate for the tilt of the 1600 engine, and the same powerful Girling disc brakes at all 4 wheels used on racing Jaguars of the era.  Those lucky enough to drive one have commented on the responsive handling ("it feels alive") as well as the remarkably comfortable ride qualities.      

                          

The Giulietta 1300 Sprint Zagato that preceded the TZ was called the coda tronca because of its truncated tail. Like the later TZ, the body was in alloy, but the glassier cabin had a bit more space, and wind-down door windows unlike the removable ones on the TZ-1.  The Sprint Zagato on exhibit has been left in a condition that represents a literal interpretation of the phrase "half-restored"...

The dividing line between "before" and "after" restoration runs right down the centerline of the car. These two views show the chopped tail that was unusual on series-produced cars in 1962.

                           

The museum is currently showing an exhibit of Zagato-bodied cars designed by Ercole Spada, and there are Lancias to go with the Spada-designed Alfas.  One is the immaculate Fulvia Sport Zagato shown below.  The design was produced from 1965 through 1973, with narrow-angle V4 engines of 1.2, 1.3 and 1.6 liters in various states of tune.  At least one source claims the first 202 cars constructed featured all-aluminum body panels, and used the smallest engine.

The glassy cabin and horizontal crease dividing upper and lower body mass could be from other Italian designers (Giugiaro or Frua), but the blunt teardrop profile ( recalling   tropical fish), oblong headlights and chiseled tail are evidence of Spada's thinking...

The Flavia Super Sport Zagato prototype shown above and below, one of two built in 1967-68, represented Spada's response to the creased, wedge-shaped cars then appearing from Giugiaro. Spada managed to include plenty of curves in the composition, in profile, plan and section. His modernist take on the traditional shield-shaped Lancia grille gives the nose more character than the simple rectangle on his Fulvia Sport, or on the various 1960s Lancias from Pininfarina or Vignale.  This car, from the Lopresto collection, is the 2 liter prototype from 1968; a 1.8 liter car to the same design appeared in the previous year.

Like the Fulvia Sport Zagato, the Flavia Sport prototypes featured the horizontal crease along their flanks, here combined with a dropped window sill line and a dished-out profile for the rear hatch that hinted at the sport wagon designs that would soon emerge from other designers. 

No Spada / Zagato retrospective would be complete without an Aston Martin, and the Swiss Museum's exhibit does not disappoint.  Zagato produced only 19 originals of Ercole Spada's body design on the DB4-GT chassis (a shortened and lightened DB-4) from 1960-63.  All featured the twin-plug cylinder head on the twin-cam Aston straight six.

Despite the American habit of calling high-performance road cars muscle cars, Spada's design for the Aston DB4 GTZ is one of the few cars that actually looks muscular. It seems that the compound curves of the alloy body have been stretched tightly over the frame and machinery. The hard-edged rectangle of the sliding side windows is a distraction, and was not a feature of all the Zagato Astons.

Nearly thirty years after building those 19 DB4-GT Zagatos, the Aston Martin factory issued another 4 Sanction II cars, and then some time later a couple of Sanction IIIs, all built on chassis leftover from the original under-subscribed run.  This reflects the fact that real Aston GTZs are now valued well over a hundred times their original price. High-maintenance, lightweight  road racers with fragile bodywork and scant creature comforts were a hard sell at twenty thousand dollars apiece in 1960, but they are considered art and worth millions today... 

*Footnote:  We had a closer look at design and engineering of the rotary-powered NSU Ro80 in "The Future in the Rearview Mirror: Tesla Model 3 vs. NSU Ro80", in the Archives for April 10, 2016.  A survey of other designs by Franco Scaglione for Bertone, including the Alfa 2000 Sportiva and Arnolt Bristol, is found in "Unsung Genius Franco Scaglione—The Arc of Success", posted December 20, 2017.  Another example of a literally half-restored car is on display in the post for April 28, 2019, entitled "Roadside Attraction—Sarasota Classic Car Museum."   The Spada-designed cars for the Swiss Museum of Transport exhibit were lent by the Lopresto Collection.  

Photo Credits:  All photos were supplied by George Havelka, with the exception of the rear view of the 1956 Alfa Bertone Spider prototype and the black and white shot of the 1955 Bertone Spider prototype, which are from carstyling.ru.