Revolution of car
The 1920s saw the emergence of the great European producers—Austin, Morris, and Singer in England, Fiat in Italy, and Citroën in France. Universal motor transportation was a long way off, but the concept of the small car that found expression in the Austin Seven and the Fiat Topolino, two of the descendants of Ettore Bugatti’s tiny Bébé Peugeot of 1911, was to have a profound effect.
By the middle of the decade, the American industry had become international. Ford had been assembling Model Ts in Britain since 1911, and General Motors Corporation bought the British Vauxhall and German Opel companies. Chrysler and Hudson, too, began assembly in Europe and other parts of the globe. The American car had established a good export trade after World War I, by which time it was recognized as robust, reliable, and cheap—so much so that several countries adopted taxation and duties against it. By the beginning of the 1930s, these policies disadvantaged the large car in Europe such that a new genre of small cars, little larger than the Austin Seven, was created for that market. The standard Ford was no longer a world car.
A significant stream of technological advancements characterized the 1920s and ’30s. In addition to four-wheel brakes, almost exclusively hydraulic by 1936, and independent front suspensions, heaters and radios became popular accessories, and transmissions with synchronized gears made driving easier. As the six-cylinder engine had largely replaced the four by 1916, so the “straight eight” was adopted by most manufacturers by 1930. An important exception was Ford’s famous V-8 of 1932, notable for its single casting and lively performance.
The age of the classic cars
The decade 1925–35 was notable not only for the appearance of many new small automobiles but also for the building of many ultra-large ones. The years from 1925 to 1948 are cited by collectors of automobiles as the “classic years,” a period that saw the rise of the luxurious fast motorcar to a peak it seems unlikely to reach again. The first name in this field was Rolls-Royce Ltd., founded in 1906. Most Rolls-Royce chassis are designed for limousine and large sedan bodies, but the firm once made a comparatively light car (called the Twenty), and it has throughout its history produced fast models in addition to its regular line—e.g., after World War II, the Continental, built under the Bentley Motors Ltd. label.
Henry Ford produced eight versions of cars before the Model T of 1908, with which his name became synonymous; these were the models A, B, C, F, K, N, R, and S. They were not remarkable automobiles, but public response to the less expensive ones (the firm made some fairly costly cars at first) indicated the soundness of Ford’s idea—to turn the automobile from a luxury and a plaything into a necessity by making it cheap, versatile, and easy to maintain.
By the mid-1920s the American automobile had won the revolution Ford had begun. The country was on wheels, and the manufacture and sale of automobiles had become an important component in the American economy. The closed car was no longer exclusively a rich man’s possession. In 1920 most cars had been open models, the occupants protected from the weather by canvas-and-isinglass side curtains. The Essex coach, a no-frills two-door sedan introduced in 1922 by the Hudson Motor Car Company, reduced the cost of sheltered motoring to that of a touring car. Ten years later, Detroit manufacturers were producing closed models almost exclusively.
The 1920s saw the emergence of the great European producers—Austin, Morris, and Singer in England, Fiat in Italy, and Citroën in France. Universal motor transportation was a long way off, but the concept of the small car that found expression in the Austin Seven and the Fiat Topolino, two of the descendants of Ettore Bugatti’s tiny Bébé Peugeot of 1911, was to have a profound effect.
By the middle of the decade, the American industry had become international. Ford had been assembling Model Ts in Britain since 1911, and General Motors Corporation bought the British Vauxhall and German Opel companies. Chrysler and Hudson, too, began assembly in Europe and other parts of the globe. The American car had established a good export trade after World War I, by which time it was recognized as robust, reliable, and cheap—so much so that several countries adopted taxation and duties against it. By the beginning of the 1930s, these policies disadvantaged the large car in Europe such that a new genre of small cars, little larger than the Austin Seven, was created for that market. The standard Ford was no longer a world car.
A significant stream of technological advancements characterized the 1920s and ’30s. In addition to four-wheel brakes, almost exclusively hydraulic by 1936, and independent front suspensions, heaters and radios became popular accessories, and transmissions with synchronized gears made driving easier. As the six-cylinder engine had largely replaced the four by 1916, so the “straight eight” was adopted by most manufacturers by 1930. An important exception was Ford’s famous V-8 of 1932, notable for its single casting and lively performance.
The age of the classic cars
The decade 1925–35 was notable not only for the appearance of many new small automobiles but also for the building of many ultra-large ones. The years from 1925 to 1948 are cited by collectors of automobiles as the “classic years,” a period that saw the rise of the luxurious fast motorcar to a peak it seems unlikely to reach again. The first name in this field was Rolls-Royce Ltd., founded in 1906. Most Rolls-Royce chassis are designed for limousine and large sedan bodies, but the firm once made a comparatively light car (called the Twenty), and it has throughout its history produced fast models in addition to its regular line—e.g., after World War II, the Continental, built under the Bentley Motors Ltd. label.
Other motorcars of this type included the Hispano-Suiza of Spain and France; the Bugatti, Delage, Delahaye, Hotchkiss, Talbot (Darracq), and Voisin of France; the Duesenberg, Cadillac, Packard, and Pierce-Arrow of the United States; the Horch, Maybach, and Mercedes-Benz of Germany; the Belgian Minerva; and the Italian Isotta-Fraschini. These were costly machines, priced roughly from $7,500 to $40,000, fast (145 to 210 km, or 90 to 130 miles, per hour), as comfortable as the state of the art would allow, and limited in luxury only by the purse of the purchaser. The great custom coach builders of England who furnished bodies for Rolls-Royce machines, unruffled by the whims of their clients, were prepared to satisfy any request, whether for upholstery in matched ostrich hide with ivory buttons or for a dashboard in rosewood.
The most expensive standard automobile of which there exist convincing records was the Type 41 Bugatti, produced in the 1920s by Ettore Bugatti, an Italian of extraordinary gifts who built cars in France, most of them racing and sports types, from 1909 to 1939. The Type 41 Bugatti, also called La Royale, was cataloged at a chassis price of 500,000 francs, then about $20,000. Only six of the cars were built.
The stock market collapse of 1929 signaled the twilight of the really luxurious motorcar. After World War II even Rolls-Royce abandoned its policy of producing a standard chassis for custom-made bodies and offered a standard sedan that could be bought straight off the showroom floor.
With the demise of the luxury car market came also a great downsizing of the industry. The Great Depression in America, and its fallout in other countries, resulted in the failure of most independent manufacturers and caused others to market lower-priced cars. As a result, the auto market in the United States became dominated by the “Big Three”—General Motors, Ford, and Chrysler—and similar effects were felt overseas.
European postwar designs
When automobile manufacture was resumed in 1946 after a lull during World War II, the effect of Italian ideas on the world’s automobile body designers was profound. Pininfarina of Turin was the best-known of the coach builders who established the characteristic Italian approach: grace, lightness in line and substance, and minimal use of decoration. Designs clearly derivative of those of Italian origin appeared everywhere, and manufacturers in France, the United Kingdom, and the United States contracted for the services of Italian carrozzerie (body factories).
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