Medieval

Medieval (pronounced mee-dee-ee-vuhl (U), med-ee-ee-vuhl (U), mid-ee-ee-vuhl (non-U) or mid-ee-vuhl (non-U))

(1) Of, pertaining to, characteristic of, or in the style of the Middle Ages.

(2) In informal (usually disparaging) use, extremely old-fashioned; primitive; backward; uncivilized.

1820-1830: A creation of Modern English from the New Latin medium aevum (the middle age, thus pertaining to or suggestive of the Middle Ages), the construct being medi(um) (the middle) + aev(um) (age) + -al (the Latin adjectival suffix appended to various words (often nouns) to make an adjective).  The Latin medium was from the primitive Indo-European root medhyo- (middle); aevum was from the primitive Indo-European root aiw- (vital force, life; long life, eternity), also the source of eon.  Mediaeval & mediæval are the now rare alternative spellings.

Between Rome and the Renaissance

The noun medievalism, originally a descriptor of the beliefs and practices characteristic of the Middle Ages, dates from 1846, later used to describe the academic discipline studying the epoch; the adverb medievally was first noted in 1844; the noun medievalist, first used in 1847, meant "proponent of medieval styles, one who sympathizes with the spirit and principles of the Middle Ages”, but was from 1882 a companion word to the later sense of "medievalism” and used to describe historians and others “versed in the history of the Middle Ages".

Lindsay Lohan dressed in "medieval" flavor, Wendy Nichol's fashion show at the Elizabeth Street sculpture gardens, New York Fashion Week, September 2013.

The Middle Ages (or the Medieval) is one of the three epochs in Western Civilization: (1) Antiquity, (2) the Middle Ages and (3) the Modern Age (itself not to be confused with modernism or modernity).  It’s a modern construct.  The writers and historians working during the Medieval period divided history into periods such as the "Six Ages" or the "Four Empires", and, under the influence of Christian eschatology, seem universally to have though their own time to be the last before the end of the world, all referring to their age as "modern".  The phrase "Middle Ages" appeared first in Latin in 1469 as media tempestas (middle season) and this, over centuries, spawned many variants, including medium aevum (middle age) in 1604 and media saecula (middle ages) in 1625.  The more familiar medieval (and the now rare mediaeval & mediæval) is from medium aevum, its creation reflecting the enduring European reverence for the classical world (which still exists in academic historiography’s Greek and Roman factions).  The tripartite division of Western history had been used by historians for some time and became (more or less) standard after the seventeenth century German classical scholar Christoph Cellarius (1638–1707) in 1683 published his Universal History Divided into an Ancient, Medieval, and New Period.

Be prepared: Medieval armor.

Historians date the beginning of the Middle Ages from either in 410 or 476, depending on whether they prefer the Visigoth’s sack of Rome or the final overthrow of the last Roman Emperor as the crucial turning point.  A date around 1500 is usually accepted as the end of the Middle Ages but there’s no precise end-date and the transition to the modern era was marked by immense regional differences, some parts of Europe remaining distinctly medieval well into the twentieth century.  The end was more a milieu, events such as the discovery of the "New World" (1492), the fall of Constantinople (1453) and the Protestant Reformation (1520s onward) all landmarks of the transition.

Lighting up the Dark Ages: The burning of Protestant heretics, in English historian John Foxe’s (circa 1517–1587) Actes and Monuments (1653) (often published with the title John Foxe's Book of Martyrs).

The once parallel term "Dark Ages" does cause confusion.  It adopts a traditional light-versus-darkness imagery to contrast the “light” (the learning and progress Antiquity and the Modern Age) with the “dark” (the violence, backwardness and stultification of the Middle Ages), the phrase derived from the Latin saeculum obscurum (dark age), originally applied by Italian cardinal and ecclesiastical historian Caesar Baronius (1538–1607) in his writings about an especially tumultuous period during the tenth and eleventh centuries.  A memorable phrase, it caught the popular imagination and the concept came to characterize the entire Middle Ages as a time of intellectual darkness between the fall of Rome and the Renaissance, a slur most widely applied during the eighteenth century Age of Enlightenment.  It’s now less used and English-speaking historians, following their German counterparts, generally subdivide the Middle Ages into "Early", "High", and "Late", avoiding “Dark Ages” completely, those who make any mention generally noting it can apply only to the earliest centuries and then usually in the context of the paucity of documents and other historic records rather than as a damnation of a thousand-odd years.

Christ Rescuing Peter from Drowning (1370) by Lorenzo Veneziano (known as Lorenzo the Venetian, his dates of birth and death are unknown but he was active between 1356–1372).  A number of paintings from the medieval era featured the famous New Testament story in which Christ is said to have walked on water during a mighty storm.  Lorenzo's work depicts the fishing boat in which Jesus’ disciples were traveling in across Israel’s Sea of Galilee.  The story appears in three of the four Gospels (Matthew 14:22-33; Mark 6:45-52 & John 6:16-21), each telling the tale in a subtlety different way.

Violin

Violin (pronounced vahy-uh-lin)

(1) The treble instrument of the family of modern bowed instruments, built as a small unfretted instrument with four strings tuned (lowest to highest) G-D-A-E and held nearly horizontal by the player's arm against the chin, with the lower part supported against the collarbone or shoulder; it’s played with a bow.

(2) In musical performance, metonymically, the position of a violinist in an orchestra, string quartet or other formation or group (sometimes as first violin, second violin etc).

(3) In musical composition, a part to be played on a violin.

(4) Any instrument of the violin family, always inclusive of violins, violas, and cellos and sometimes further including the double bass (used by certain musical specialists but a use derided by most).

(5) To play on, or as if on, a violin (rare except in technical use),

1570–1580: From the Italian violino (a little viola), the construct being viol(a) (from the Italian viola, from the Provençal and of uncertain origin but there may be some link with the Latin vītulārī (to rejoice)) + -ino (the suffix used to form diminutives).  The sixteenth century word described the modern form of the smaller, medieval viola da braccio.  The violin and viola share similarities in terms of construction and playing technique but a violin is smaller.  A full-size violin has a body length around 14 inches (360 mm) while a viola typically extends to around 16 inches (405 mm) and the larger instrument tends to have a lower pitch range and different tonal qualities.  The violin is noted for a high pitch range (G-D-A-E low to high) while a viola is tuned to C-G-D-A, a perfect fifth lower which lends it a deeper, mellower sound.  In an orchestra, the violin usually plays the melody (the highest voice in the string section) and thus many solo pieces are written which attract the most virtuosic players.  Viola pieces are usually supportive , providing harmony, inner voices, or countermelodies although it does have its own solo repertoire.  Violin is a noun & verb, violinist is a noun and violining & violined are verbs; the noun plural is violins.

The Duce with violin.

As well as professionals, the violin has long attracted also those who enjoy music as a hobby, Charlie Chaplin (1889–1977), Marlene Dietrich (1901-1992), Albert Einstein (1879-1955) & Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) were all keen players and leader of the US Nation of Islam (NOI), Louis Farrakhan (b 1933), in 1993 even performed Felix Mendelssohn's (1809-1847) Violin Concerto in E Minor.  His skill aside (and the reviews were warm enough), the choice of a piece by Mendelssohn was interesting because of Mr Farrakhan's history of anti-Semitic rhetoric but even in that the interpretations of motive varied because although of Jewish ancestry, the composer was baptized and raised a Christian and while in recent years some scholars have made the case for the sincerity of his Christianity, others maintain that for most of his life he displayed an unalloyed reverence for his Jewish roots.  However while the persistent legend is that Roman Emperor Nero (37-68) "fiddled while Rome burned" in 64 AD it probably isn't true; even if he "fiddled away" on some instrument, it wouldn't have been a fiddle because that device was 15 centuries away.  If he played anything mid-inferno it was probably a lute but historians think the phrase was intended to mean something like "twiddled his thumbs", suggesting he was negligently inactive or inept in his handling of the disaster.  Even this is now thought by many historians to be the fake news of its day, spread by his political enemies (of which justly he had many).

Lindsay Lohan backstage with guitarist Michael Isbell (b 1979) & fiddle player Amanda Shires (b 1982) at the Dylan Fest concert, Bowery Ballroom, New York City, November 2013.

The distinction between the violin and the fiddle is less about the actual instruments than the use to which they’re put although both words are replete with cultural baggage.  What is essentially the same instrument is thought a violin when playing from the classical canon and a fiddle if performing folk or country & western music.  Of course there are many genres apart from these and when the instrument is used in other settings (jazz, pop et al), the use is up to the individual, influenced either by their own preference or some sense of adherence to the conventions describing whatever is being performed.  The fiddle (as a stringed musical instrument) has a long history and is a feature of much medieval art depicting performances of folk music.  It was from the late fourteenth century Middle English fedele, fydyll & fidel from the eleventh century fithele, from the Old English fiðele (fiddle) which was related to the Old Norse fiðla, the Middle Dutch vedele, the Dutch vedel, the Old High German fidula and the German Fiedel, all of which are of uncertain origin.  There’s never been anything to suggest there’s anything onomatopoeic in the origin and the most cited theory (based on resemblance in sound and sense), is that there’s a connection to the Medieval Latin vitula (stringed instrument (source of Old French viole and the Italian viola), which may be related to the Latin vitularia (celebrate joyfully), from Vitula, the Roman goddess of joy and victory, thought to have been drawn from the Sabines.  That however remains speculative and it’s not impossible the Medieval Latin word was derived from one of the Germanic forms.

The Dallas-based Quebe Sisters (siblings Grace, Sophia & Hulda) are a triple fiddle trio who play what is described as "neo-traditionalist western swing".

Despite the snobbery of some, those who enjoy country & western music are not culturally inferior; it’s just a different form of sophistication.  In certain circles however there is a dismissive contemptuousness of “fiddle songs” and the fiddle’s reputation has suffered by association, relegated to the colloquial usage by the respectable violin, a process doubtlessly hastened by encouraged by phrases such as fiddlesticks (from the 1620s meaning “untrue; absurd”), fiddle-de-dee (from 1784 and a nonsense word in the sense of “contemptuously silly”) and fiddle-faddle (a mid-nineteenth century coining to convey the idea of “a statement worthy only of ridicule; blatantly untrue”).  The outlier of course is fit as a fiddle (robust; in rude good health), noted since the 1610s and apparently unrelated to music or the instrument, it being probably one of those English sayings which caught on because of the alliterative appeal and there are etymologists who suspect the original form was “fit as a fiddler” but the familiar version prevailed because it more easily rolled from the tongue.

The Kreutzer Sonata (1901), oil on canvas by René François Xavier Prinet (1861-1946).

The Kreutzer Sonata was inspired by Leo Tolstoy’s (1828-1910) novella of the same title (1889), which was named after Ludwig van Beethoven’s (circa 1770–1827) Violin Sonata No 9, Opus 47 (1803), a violin and piano composition dedicated to the French violinist & conductor Rodolphe Kreutzer (1766-1831).  Kreutzer never performed the piece but whether this was related to him being the “second choice” is unknown.  Beethoven originally dedicated the sonata to another violinist who first performed it but the two had a squabble about something and the bad-tempered composer instead conferred the honor on Kreutzer.  The work is a favorite among violinists because it can convey an emotional range from anger and despair to joy and in this vein, Tolstoy’s tale is one of a woman murdered by her husband because of his suspicion of her infidelity with a violinist.  The Tsar’s censor (a busy, full-time job) for a time banned the book because of concerns it might “stir the emotions”.

Viola is a genus of flowering plants in the violet family Violaceae.

The sonata had certainly stirred something in Tolstoy who said he was “shocked at the eroticism” when it was performed by a man and a woman and he wasn’t the only one affected by the instrument.  Both the Italian composer and violinist of the Baroque period Giuseppe Tartini (1692–1770) and Igor Stravinsky (1882-1971) also referred to the violin as “the devil’s instrument, the Italian with rather more glee, the Russian well-deserving the appellation “six odd feet of Russian misery” attributed to George Gershwin (1898-1937).  Tolstoy depicted the violin as something so evil in the eroticism it could summon it could drive a man to murder and infamously there was a violinist who murdered on a grand scale.  The roll-call of evil-doers among the Nazi hierarchy was long and it’s probably morally dubious to try to suggest which were worse than others but probably all agree Schutzstaffel (SS) Obergruppenführer (an SS rank equivalent to an army general) Reinhard Heydrich (1904–1942; head of the Reichssicherheitshauptamt (Reich Main Security Office (including the Gestapo, Kripo, and SD 1939-1942)) was as repellently awful as any.  He was though a genuinely gifted musician and could have pursued a musical career; it was said that when he played the violin, grown men could be reduced to tears.

Kiki in Le Violon d'Ingres.

One of the enduring images of surrealist photography Le Violon d'Ingres (Ingres's Violin) was taken by the US visual artist Man Ray (Emmanuel Radnitzky 1890-1976) in Paris 1924.  The model was Kiki de Montparnasse (“Kiki of Montparnasse”: Alice Prin; 1901–1953) and the title was something of a play on words, the French phrase “le violon d'Ingres” meaning “hobby” and mademoiselle Kiki the photographer’s muse and lover (it was a tempestuous relationship). The French expression was derived from the habit of the neoclassical painter Jean-Auguste-Dominique Ingres (1780–1867) insisting on playing the violin to visitors who were there anxious to view his paintings.  The photograph references one of the artist’s most admired works, La Grande Baigneuse (The Valpinçon Bather) which focuses also on the female back.  Obviously, Man Ray worked in the pre-digital world when images were committed to celluloid but his post-production editing technique used layers in a way analogous with that of Photoshop and other image handlers: Wanting to explore the similarity in shape between the body of a violin and the pleasing torso of his model, he first printed a copy onto which he painted the f-holes of a violin, then photographed the modified image.  That became the famous work and in June 2022 it went under the hammer for US$12.4 million at Christie's New York, making it the most expensive ever to be sold at auction.

Kiki in a French postcard, circa 1920.

Mademoiselle Kiki was from the provinces and came to nude modelling in Paris only after a succession of dreary jobs, the last in a bakery from which she was fired by the baker’s wife for punching her in the face after being called a whore for wearing eye make-up.  Man Ray “discovered her by accident” and she found nude modelling both a pleasant occupation and more lucrative than the hard work of being a baker’s assistant but that view wasn’t shared by her mother who, tipped off by a neighbor, burst into the photographer’s studio and make it clear she agreed with baker’s wife, banning her from the apartment they shared.  The affair with Man Ray was thus immediately convenient but their feelings seem genuinely to have been sincere although it did end badly; at one point he was seen chasing her down the street, revolver in hand.

Model Adriana Fenice (b 1995) with violin.

Nude modelling was at the time frowned upon by the more respectable of those engaged by Parisian fashion houses, something which endures to this day.  Even in 1946, the inventor of the bikini (not a new style but his cut was daringly minimalist) couldn’t find a model on the books of the agencies willing to be photographed in such a thing so he hired a nude model; for her it was more fabric than usual.  The disapprobation of the middle-class towards non-conforming women persists and manifests in different cultures at different levels.  In India, nude modelling is definitely out but mothers will also tar occupations such as prostitute, flight attendant and call-centre worker with the same brush of un-virtue, apparently because they all sometimes work during the hours of darkness when respectable girls are in the home, cooking & cleaning.

Nicola Benedetti CBE (b 1987) with her "Earl Spencer" Stradivarius.

Violinist (one who plays the violin) dates from the 1660s and was from the Italian violinist.  A violinist is thus a musician and not a “violin maker”: those practicing that profession are properly called luthiers.  A luthier is a skilled craftsperson who specializes in the construction, repair, and restoration of stringed instruments, particularly violins and the range of skills needed is wide because a luthier needs to select and fashion by cutting and carving, different types of wood which need to be assembled and varnished, all processes which ultimately determine the instrument’s tone and aesthetic qualities.  In the traditional way of making violins, there is both artistry and craftsmanship.  Luthier has no connection with “Lucifer” (and there’s thus no link with the notion of the “devil’s instrument”).  Luthier was from the French luth (lute), a stringed instrument of great antiquity that was wildly popular during the medieval era and the Renaissance periods and the luthier's craft once focused predominately on the construction and repair of lutes.  As the lute faded from use and the violin gained prominence, luthiers adapted and changed, becoming specialists in the violin making, some branching out to include other stringed instruments such as violas, cellos, and guitars.  The French luth was from leutier, from the Latin luteum (yellow or yellowish), thought to refer to the honey-colored wood most suited to musical instruments.

Yehudi Menuhin on stage, 1943.

Still the most famous of the luthiers is Antonio Stradivari (1644-1737) whose workshop was in Cremona.  His violins, of which there were thousands, may or may not have been the product of his own hands because he had sons and pupils in his business but the survivors by the 1990s were selling for millions.  The familiar Stradivarius is the anglicized form and although some “blind tests” have suggested even experts can’t tell the difference in the sound from a genuine “Strad” and a good quality modern violin, they have become a collectable and now sell for even more millions.  The acclaimed virtuoso Yehudi Menuhin (1916–1999) for decades played on one of the rare Soil Stradivarius, crafted in 1714 during the luthier’s “golden period”.  During World War II (1939-1945), Menuhin sometimes played concerts to entertain troops and once found out that due to an army SNAFU, his waiting audience was expecting an attractive young lady to sing for them.  Undeterred, he walked on stage, telling the soldiers: “You won’t enjoy this, but it’s good for you”, proceeding to play Handel’s Violin Sonata No. 3.  It was well received.

Gullwing & Gull-wing

Gullwing & Gull-wing (pronounced guhl-wing)

(1) In aviation, an airplane wing that slants briefly upward from the fuselage and then extends horizontally outward (ie a short upward-sloping inner section and a longer horizontal outer section).

(2) Of doors, a door hinged at the top and opening upward (applied usually to cars but can be used in aviation, aerospace and architecture).

(3) Anything having or resembling (extended and partially extended) wings of a gull (and many other birds).

(4) In electronic hardware, a type of board connector for a small outline integrated circuit (SOIC).

(5) In historic admiralty jargon, a synonym of goose wing (a sail position).

Gull is from the Middle English gulle, from the Brythonic, from the Proto-Celtic wēlannā (seagull) and was cognate with the Cornish guilan, the Welsh gwylan, the Breton gouelan and the Old Irish faílenn.  The noun Gull was used (in a cook-book!) to describe the shore bird in the 1400s, probably from the Brythonic Celtic; it was related to the Welsh gwylan (gull), the Cornish guilan, the Breton goelann; all from Old Celtic voilenno-.  Gull replaced the Old English mæw.

The verb form meaning “to dupe, cheat, mislead by deception" dates from the 1540s, an adaptation by analogy from the earlier (1520) meaning "to swallow", ultimately from the sense of "throat, gullet" from the early 1400s.  The meaning was the idea of someone so gullible to “swallow whatever they’re told”.  As a cant term for "dupe, sucker, credulous person", it’s noted from the 1590s and is of uncertain origin but may be from the verb meaning "to dupe or cheat".  Another possibility is a link to the late fourteenth century Middle English gull & goll (newly hatched bird" which may have been influenced by the Old Norse golr (yellow), the link being the hue of the bird’s down.

Wing was from the late twelfth century Middle English winge & wenge (forelimb fitted for flight of a bird or bat), applied also to the part of certain insects which resembled a wing in form or function, from the Old Norse vængr (wing of a bird, aisle etc) from the Proto-Germanic wēinga & wēingan-.  It was cognate with the Danish vinge (“wing”), the Icelandic vængur (wing), the West Frisian wjuk (wing) and the Swedish vinge (“wing”), of unknown origin but possibly from the Proto-Germanic we-ingjaz ( a suffixed form of the primitive Indo-European root we- (blow), source of the Old English wawan (to blow).  It replaced the native Middle English fither, from the Old English fiþre & feðra (plural (and related to the modern feather)) from the Proto-Germanic fiþriją, which merged with fether, from the Old English feþer, from the Proto-Germanic feþrō).  The meaning "either of two divisions of a political party, army etc dates from circa 1400; the use in the architectures was first recorded in 1790 and applied figuratively almost immediately.  The slang sense of earn (one's) wings is 1940s, from the wing-shaped badges awarded to air cadets on graduation. To be under (someone's) wing "protected by (someone)" is recorded from the early thirteenth century; the phrase “on a wing and a prayer” is title of a 1943 song about landing a damaged aircraft.

A Gull in flight (left), inverted gull-wing on 1944 Voight Corsair (centre) & gull-wing on 1971 Piaggio P.136 (Royal Gull) (right).

In aviation, the design actually pre-dates powered flight (1903) by half a millennium, appearing in the speculative drawings of flying machines by Leonardo da Vinci (1452-1519) and others, an inevitable consequence of being influenced by the flapping wings of birds.  There were experiments, circa 1911, to apply the gull-wing principle to some of the early monoplanes in a quest to combine greater surface area with enhanced strength but it wasn’t until the 1920s it began widely to be used, firstly in gliders for some aerodynamic advantage and later, powered-aircraft.  In powered aircraft, the gull-wing offered little aerodynamically but had structural advantages in that it allowed designers more easily to ensure (1) increasingly larger propellers would have sufficient clearance, (2) undercarriage length could be reduced (and consequently strengthened) and (3) wing-spans could slightly be reduced, a thing of great significance when operations began on aircraft carriers, the gull-wing being especially suited to the folding-wing model.  Depending on the advantage(s) sought, designers used either a classic gull-wing or the inverted gull-wing.  The correct form is for all purposes except when applied to the the (1954-1957) Mercedes-Benz 300 SL coupé is the hyphenated gull-wing; only the 1950s Mercedes-Benz are called Gullwings.

1945 Jamin-Bouffort JB.

Cars with gull-wing doors had been built before Mercedes-Benz started making them at scale and the principle was known in both aviation and marine architecture.  One was the 1945 Jamin-Bouffort JB, the creation of French aeronautical engineer Victor-Albert Bouffort (1912-1995) who had a long history of clever, practical (and sometimes unappreciated) designs.  The Jamin-Bouffort JB was a relatively small three-wheeler built using some of the techniques of construction used in light aircraft, the gull-wing doors the most obvious novelty.  Anticipating the 1950s boom in micro-cars, there was potential but with European industry recovering from the war, most effort was directed to resuming production of pre-war vehicles using surviving tooling and there was little interest in pursuing anything which required development time.  Monsieur Bouffort would go on to design other concepts ahead of their time, some of his ideas adopted by others decades after his prototypes appeared.

Bugatti Type 64 with gull-wing body fabricated using original conceptual sketches on 1939 Type 64 chassis.

In 1939, Jean Bugatti drew up plans for the Type 64, a vehicle with gull-wing doors, his sketches an example of the great interest being shown by European manufacturers in aerodynamics, then called usually streamlining.  Although two Type 64s were completed in 1939, neither used the gull-wing doors and it would be another eighty-odd years before Bugatti’s design was realised when collector & president of the American Bugatti Club, Peter Mullin (b 1941), arranged the fabrication of the coachwork, based on the original drawings.  Built in exactly the same way craftsmen would have accomplished the task in 1939, the body was mounted on the surviving Type 64 chassis (64002), united for the first time with what Jean Bugatti called papillon (butterfly) doors which all (except the French) now call gull-wings.

Mercedes-Benz and the gull-wing.

1952 Mercedes-Benz 300 SL prototype (W194).

By 1951, although the Wirtschaftswunder (the post-war German “economic miracle”) still lay ahead, structural changes (the most important being the retreat by the occupying forces in the western zones from the punitive model initially adopted and the subsequent creation in 1948 of the stable deutschmark), had already generated an economy of unexpected strength and Mercedes-Benz was ready to make a serious return to the circuits.  Because the rules then governing Formula One didn’t suit what it was at the time practical to achieve, the first foray was into sports car racing, the target the ambitious goal of winning the Le Mans 24 hour race, despite a tight budget which precluded the development of new engines or transmissions and dictated the use of as much already-in-production as possible.

1952 Mercedes-Benz 300 SL prototype (W194).

It was the use of a production car engine designed not for ultimate power but smoothness, reliability and a wide torque band which ultimately dictated the use of the gull-wing doors.  The engine was the 3.0 litre (183 cubic inch) M186 straight-six used in the big 300 limousines and its two door derivatives, of advanced design by the standards of the time but also big, tall and heavy, attributes not helpful to race-car designers who prefer components which are compact, light and able to be mounted low in a frame.  A new engine not being possible, the factory instead created a variation, the M194, which used the triple-carburetor induction of the 300S coupés in an improved cylinder head, the innovation being the iron-block now lying at a 50^o angle, thereby solving the problem of height by allowing it to be installed while canted to the side, permitting a lower bonnet line.  Using the existing gearbox, it was still a heavy engine-transmission combination, especially in relation to its modest power-output and such was the interest in lightness that, initially, the conventional wet-sump was retained so the additional weight of the more desirable dry-sump plumbing wouldn’t be added.  It was only later in the development-cycle that dry-sump lubrication was added.

1952 Mercedes-Benz 300 SL space-frame (W194).

The calculations made suggested that with the power available, the W194 would be competitive only if lightness and aerodynamics were optimized.  Although the relationship between low-drag and down-force were still not well-understood, despite the scientific brain-drain to the US and USSR (forced and otherwise) in the aftermath of the war, the Germans still had a considerable knowledge-base in aerodynamics and this was utilized to design a small, slippery shape into which the now slanted straight-six would be slotted.  There being neither the time nor the money to build the car as a monocoque, the engineers knew the frame had to be light.  A conventional chassis was out of the question because of the weight and they knew from the pre-war experience of the SSKL how expensive and difficult it was to reduce mass while retaining strength.  The solution was a space-frame, made from tubular aluminum it was light, weighing only between 50-70 kg (110-155 lb) in it’s various incarnations yet impressively stiff and the design offered the team to opportunity to use either closed or open bodies as race regulations required.

However, as with many forms of extreme engineering, there were compromises, the most obvious of which being that the strength and torsional rigidity was in part achieved by mounting the side tubes so high that the use of conventionally opening doors was precluded.  In a race car, that was of no concern and access to the cockpit in the early W194s was granted by what were essentially top-hinged windows which meant ingress and egress was not elegant and barely even possible for those of a certain girth but again, this was though hardly to matter in a race car.  In this form, the first prototypes were built, without even the truck-like access step low on the flanks which had been in the original plans.

1952 Mercedes-Benz 300 SL production coupé (W194).

Actually, it turned out having gull-wing windows instead of gull-wing doors did matter.  Although the rules of motorsport’s pettifogging regulatory body, the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation) were silent on the types and direction of opening doors and, in the pre-war era they had tolerated some essentially fake doors, their scrutineers still raised objections during inspection for the 1952 Mille Miglia.  The inspectors were forced to relent when unable to point to any rule actually being broken but it was clear they’d be out for revenge and the factory modified the frame to permit doors extending down the flanks, thereby assuming the final shape which would come to define the gull-wing door.  Relocating some of the aluminum tubing to preserve strength added a few kilograms but forestalled any retrospective FIA nit-picking.  To this day, the FIA's legions of bureaucrats seem not to realise why they’ve for so long been regarded as impediments to competition and innovation.

The W194 at Le Mans, 1952.

First tested on the Nürburgring and Hockenheimring in late 1951, the W194, now dubbed 300 SL for promotional purposes, was in March 1952 presented to the press on the Stuttgart to Heilbronn autobahn.  In those happy days, there was nothing strange about demonstrating race cars on public highways.  The SL stood for Super Leicht (super light), reflecting the priority the engineers had pursued.  Ten W194s were built for the 1952 season and success was immediate, second in the Mille Miglia; a trademark 1-2-3 result in the annual sports car race in Bern and, the crowning achievement, a 1-2 finish in the twenty-four hour classic at Le Mans.  Neither usually the most powerful nor the fastest car in the races it contested, the 300 SL nevertheless so often prevailed because of a combination of virtues.  Despite the heavy drive-train, it was light enough not to impose undue stress on tyres, brakes or mechanical components, the limousine engine was tough and durable and the outstanding aerodynamics returned surprising good fuel economy; in endurance racing, reliability and economy compensate for a lot of absent horsepower.

As a footnote (one to be noted only by the subset of word nerds who delight in the details of nomenclature), for decades, it was said by many, even normally reliable sources, that SL stood for sports Sports Leicht (sports light) and the history of the Mercedes-Benz alphabet soup was such that it could have gone either way (the SSKL (1929) was the Super Sports Kurz (short) Leicht (light) and from the 1950s on, for the SL, even the factory variously used Sports Leicht and Super Leicht.  It was only in 2017 it published a 1952 paper (unearthed from the corporate archive) confirming the correct abbreviation is Super Leicht.  Sports Leicht Rennsport (Sport Light Racing) seems to be used for the the SLRs because they were built as pure race cars, the W198 and later SLs being road cars but there are references also to Super Leicht Rennsport.  By implication, that would suggest the original 300SL (the 1951 W194) should have been a Sport Leicht because it was built only for competition but given the relevant document dates from 1952, it must have been a reference to the W194 which is thus also a Sport Leicht.  Further to muddy the waters, in 1957 the factory prepared two lightweight cars based on the new 300 SL Roadster (1957-1963) for use in US road racing and these were (at the time) designated 300 SLS (Sports Leicht Sport), the occasional reference (in translation) as "Sports Light Special" not supported by any evidence.  The best quirk of the SLS tale however is the machine which inspired the model was a one-off race-car built by Californian coachbuilder ("body-man" in the vernacular of the West Coast hot rod community) Chuck Porter (1915-1982).  Porter's SLS was built on the space-fame of a wrecked 300 SL gullwing (purchased for a reputed US$500) and followed the lines of the 300 SLR roadsters as closely as the W198 frame (taller than that of the W196S) allowed.  Although it was never an "official" designation, Porter referred to his creation as SL-S, the appended "S" standing for "scrap". 

W194 roadsters at Nürburgring, 1952.

After the triumph at Le Mans, the SL won at the Eifelrennen and was then entered into in a race on the Nürburgring and to shed some weight, engineers converted three of the coupés to roadsters, emulating the body of one of the original ten which had been open-topped from the start.  To avoid any unpleasantness with the FIA, the section of the doors extending into the side of the car was retained and a smaller windscreen was installed to improve aerodynamics and afford the driver some protection from the weather and bugs unfortunate enough to be caught in the path.  The roofectomy reduced weight by about 100 kg (220 lb) which presumably helped, the four finishing in the first four places.

Winning W194, 1952 Carrera Panamericana Mexico, the protective metal struts were an ad-hoc addition after a bird strike.

One final adventure for the year yielded a perhaps unexpected success.  In November 1952, the factory entered two coupés and two roadsters in the third Carrera Panamericana Mexico, a race of 3100 kilometres (1925 miles) over five days and eight stages, their engines now bored out to 3.1 litres (189 cubic inches) increasing power from 175 bhp (130kw) to 180 (135).  The cars finished 1-2-3 although the third was disqualified for a rule violation and the winning car endured the intrusion at speed of a vulture through the windscreen.  Unlike the 300 SL, the unlucky bird didn’t survive.  There was however one final outing for the W194.  In 1955 it won the Rally Stella Alpina, the last time the event would be run in competitive form, one of many cancelled in the wake of the disaster at Le Mans that year in which 84 died and almost two-hundred injured.  Coincidently, that accident involved the W194’s successor, the 300 SLR.

1953 300 SL Prototype.

The 300 SL was re-engineered for the 1953 season, the bodywork now made from magnesium, lighter even than aluminum, the design of which had seen the car return to the wind-tunnel after which it gained a revised front section which not only reduced drag but also improved cooling by optimizing airflow to the radiator and engine compartment.  Power rose too.  Again drawing from wartime experience with the DB60x V12 aero-engine used in many German warplanes, direct fuel-injection was introduced which boosted output from 180 bhp (135 kw) to 215 bhp (158 kW).  Nor were the underpinnings neglected, the rear suspension design improved (somewhat) with the addition of the low-pivot single-joint swing axle (which would later appear on some production 300 SLs) while the transmission was flanged on the rear axle, not quite a transaxle but much improving the weight distribution.  The wheelbase was shortened by 100 millimetres (4 inches) and 16-inch wheels were adopted.  Even disk brakes were considered but the factory judged them years from being ready and it wouldn’t be until 1961 that they appeared on a Mercedes-Benz, more than half a decade after others had proved the technology on road and track.  There was however one exception to that, a disc brake had been installed between propeller shaft and differential on the high-speed truck built in 1954 to carry the Grand Prix cars between the factory and circuits in Europe.

The revised 300 SL however was never raced, the factory’s attention now turning to the Formula One campaign which, with the W196, would so successfully be conducted in 1954-1955, an off-shoot of which would be the W194’s replacement, the W196S sports car which would be based on the Grand Prix machine and dubbed, a bit opportunistically, the 300 SLR (Sport Leicht Rennen (Sport Light-Racing)).  Such was the impression made by the futuristic W194 that it would inspire production of the road-going 300 SL Gullwing (W198), 1400 of which were built during 1954-1957 (including 29 with aluminium bodies).

1955 Mercedes-Benz 300 SL (W194) (1954-1957).

Although the public found them glamorous, the engineers at Mercedes-Benz had never been enamoured by the 300 SL’s gull-wing doors, regarding them a necessary compromise imposed by the high side-structure of the space-frame which supported the body.  Never intended for use on road-cars, it was the guarantee of the US importer of Mercedes-Benz to underwrite the sale of a thousand gull-wing coupés that saw the 300 SL Gullwing enter production in 1954.  The sales predictions proved accurate and of the 1400 built, some eighty percent were delivered to North American buyers.  The W198 300SL was the model which became entrenched in the public imagination as “the Gullwing” and it’s the only instance where the word doesn’t need to be hyphenated.  Glamorous those doors may have been, they did impose compromises.  The side windows didn’t roll down, ventilation was marginal and air-conditioning didn’t exist; in a hot climate, one really had to want to drive a Gullwing.  There was also the safety issue, some drivers taking the precaution of carrying a hammer in case, in a roll-over, the inability to open the doors made the windscreen the only means of escape and roll-overs were perhaps more likely in a Gullwing than many other machines, the nature of the swing axles sometimes inducing unwanted behavior in what was one of the fastest cars on the road although, in fairness, on the tyres available in the 1950s that was less of an issue than it would become on later, stickier rubber.

Mercedes-Benz 300 SLR (W196S), Stirling Moss & Denis Jenkinson, Mille Miglia, Italy, 1955.

The 300 SLR (W196S) was a sports car, nine of which were built to contest the 1955 World Sportscar Championship.  Essentially the W196 Formula One car with the straight-eight engine enlarged from 2.5 to 3.0 litres (152 to 183 cubic inches), the roadster is most famous for the run in the 1955 Mille Miglia in Italy which was won over a distance of 992 miles (1597 km) with an average speed of almost 100 mph (160 km/h); nothing like that has since been achieved.  There's infamy too attached to the 300 SLR; one being involved in the catastrophic crash and fire at Le Mans in 1955.

1955 300 SLR (W196S “Uhlenhaut” coupé). 

Two of the 300 SLRs were built with coupé bodies, complete with gull-wing doors.  Intended to be used in the 1955 Carrera Panamericana Mexico, they were rendered instantly redundant when both race and the Mercedes-Benz racing programme was cancelled after the Le Mans disaster.  The head of the programme, Rudolf Uhlenhaut (1906-1989), added an external muffler to one of the coupés, registered it for road use (such things were once possible when the planet was a happier place) and used it for a while as his company car.  It was then the fastest road-car in the world, an English journalist recording a top speed of 183 mph (295 km/h) on a quiet stretch of autobahn but Herr Uhlenhaut paid a price for the only partially effective muffler, needing hearing aids later in life.  Two were built (rot (red) & blau (blue), the names based on their interior trim) and for decades they remained either in the factory museum or making an occasional ceremonial appearance at race meetings.  However, in a surprise announcement, in June 2022 it was revealed rot had been sold in a private auction in Stuttgart for a world-record US$142 million, the most expensive car ever sold.  The buyer's identity was not released but it's believed rot is destined for a collection in the Middle East.  It's rumoured also the same buyer has offered US$100 million should an authentic 1929 Mercedes-Benz SSKL ever be uncovered.  

1970 Mercedes-Benz C-111 (1968-1970 (Wankel versions)).

Although the C-111 would have a second career in the late 1970s in a series of 5-cylinder diesel and V8 petrol engined cars used to set long-distance endurance records, its best remembered in its original incarnation as the lurid-colored (safety-orange according to the factory) three and four-rotor Wankel-engined gullwing coupés, sixteen of which were built.  The original was a pure test-bed for the Wankel engine in which so many manufacturers once had so much hope.  The first built looked like a failed high-school project but the second and third versions were both finished to production-car standards with typically high-quality German workmanship.  Although from the school of functional brutalism rather than the lovely things they might have been had styling been out-sourced to the Italians, the gull-winged wedges attracted much attention and soon cheques were enclosed in letters mailed to Stuttgart asking for one.  The cheques were returned, apparently there had never been plans for production even had the Wankel experiment proved a success.  The C-111 was fast, the four-rotor version said to reach 300 km/h (188 mph), faster than any production vehicle then available.

1991 Mercedes-Benz C112.

The C112 was an experimental mid-engined concept car built in 1991.  Designed to be essentially a road-going version of the Sauber-built C11 Group C prototype race car developed for the 1990 World Sports-Prototype Championship, it was powered by the 6.0 litre (366 cubic-inch) M120 V12 used in the R129 SL and C140/W140 S-Class variously between 1991-2001.  The C112 does appear to have been what the factory always claimed it was: purely a test-bed for technologies such as the electronically-controlled spring & damper units (which would later be included on some models as ABC (active body control)), traction control, rear wheel steering, tyre-pressure monitoring and distance-sensing radar.  As an indication it wasn't any sort of prototype intended for production, it offered no luggage space but, like the C111 twenty years earlier, it’s said hundreds of orders were received.  It was 1991 however and with the world in the depths of a severe recession, not even that would have been enough for a flirtation with thoughts of a production model.  After the C112, thoughts of a gull-wing were put on ice for another two decades, the SLR-McLaren (2003-2009) using what were technically “butterfly” door, hinged from the A-pillars.

2011 Mercedes-Benz SLS-AMG (2101-2014).

The factory’s most recent outing of the gull-wing door, the SLS, which used the naturally aspirated 6.2 litre (379 cubic inch) M159 DOHC V8, was produced between (2010-2014), a roadster version also available.  To allay any doubt, it was announced at the time of release that SLS stands for Super Leicht Sport (Super Light Sport) although such things are relative, the SLS a hefty 1600-odd kg (3,500 lb) although, in fairness, the original Gullwing wasn’t that much lighter and the SLS does pack a lot more gear, including windows which can be opened and air-conditioning.  In the way of modern marketing, many special versions were made available during the SLS’s relatively short life, even an all-wheel-drive electric version with a motor for each wheel.  Such is the lure of the gull-wing motif for Mercedes-Benz, it’s unlikely the SLS will be the last and a high-priced revival is expected to become a feature of the marketing cycle every couple of decades but we're unlikely to see any more V8s or V12s unless perhaps as a swan-song, AMG indicating recently they expect their 4.0 litre (244 cubic inch) V8 to remain in production for another ten years, Greta Thunberg (b 2003) and her henchmen the humorless EU bureaucrats permitting.

Lindsay Lohan at the Nicholas Kirkwood catwalk show, London Fashion Week 2015 with a prop vehicle (one of the gull-wing DMC DeLoreans modified closely to resemble the one used in the popular film Back to the Future (1985)).

Tesla Model X with falcon-wing doors.

Such was the allure of the 300 SL’s gull-wing doors that in the shadow they’ve cast for seventy-odd years, literally dozens of cars have appeared with the features, some of questionable aesthetic quality, some well-executed and while most were one-offs or produced only in small runs, there’s been the occasional (usually brief) success and of late some Teslas have been so equipped and with the novelty of them being the back doors, the front units conventionally hinged.  Tesla calls them “falcon wings” because the design was influenced by the bird.  However, the biomimicry was (for obvious reasons) not an attempt to gain the aerodynamic advantages of the falcon’s wing shape which affords exceptional maneuverability in flight but simply an adoption of the specific bone structure.  Unlike the fixed structure of the classic gull-wing door, the Tesla’s falcon-wing is fitted with an additional central joint which permits them to be opened in cramped spaces, aiding passenger ingress and egress.  Some Tesla engineers have however admitted the attraction of them as way to generate publicity and (hopefully) attract sales may have been considered during the design process.

Bricklin SV-1 (1974-1975, left) and DMC DeLorean (1981-1983, right).

Two of the best known of the doomed gull-wing cars were the Bricklin SV1 and the DeLorean, both the creations of individuals with interesting histories.  Malcolm Bricklin’s (b 1939) first flirtation with the automotive business was his introduction into the US market of the Subarus, built by the Japanese conglomerate Fuji Heavy Industries.  Having successfully imported the company’s scooters for some years, the model Mr Bricklin in 1968 chose was the 360, a tiny, egg-shaped device which had been sold in Japan for a decade, the rationale underlying his selection being it was so small and light it was exempt from just about any regulations.  Although really unsuited to US motoring conditions it was (at US$1300) several hundred dollars cheaper than a Volkswagen Beetle and had a fuel consumption around a third that delivered by the even the more economical US-built cars so it found a niche and some ten-thousand were sold before that gap in the market was saturated.  Ever imaginative, Mr Bricklin then took his hundreds of unsold 360s and re-purposed them essentially as large dodgem-cars, renting unused shopping-mall car-parks as ad-hoc race tracks and offering “laps” for as little as $US1.00.  He advertised “no speed limits” to attract the youth market but given the little machines took a reported 56 seconds for the 0-60 mph (0-100 km/h) run, reaching the legal limit in a car-park would have been a challenge.  Mr Bricklin achieved further success with Subaru’s more conventional (in a front wheel drive (FWD) context) 1000 and the corporation would later buy out his US interests for was thought to be a most lucrative transaction for both parties.

1969 Subaru 360 Deluxe.

His eponymous gull-winged creation was the SV-1 which, although nominally positioned as a “sports car” was marketed also as a “safety-vehicle” (hence the SV).  It certainly contained all of the safety features of the time and in that vein was offered mostly in lurid “high visibility” colors although the prototypes for an up-market “Chairman” version were displayed in more restrained black or white.  It was ahead of its time in one way, being fitted with neither ash-trays nor cigarette lighters, Mr Bricklin not approving of smoking and regarding the distractions of lighting-up while at the wheel a safety hazard.  Whether in stable conditions the car could have succeeded is speculative but the timing was extraordinarily unlucky.  The V8-powered car arrived on the market in 1974 shortly after the first oil shock saw a spike in the price of gasoline and in the midst of the recession and inflation which followed in the wake of that.  Between its introduction and demise, the costs of the SV1 more than doubled and there were disruptions to the production process because supply problems (or unpaid bills depending on who was asked) meant the AMC engine had to be replaced with a Ford power-plant.  By the time production ended, some 3000 had been built, but, not discouraged, Mr Bricklin would go on to import Fiat sports cars and the infamous Yugo before being involved with a variety of co-ventures with Chinese partners.

1970 Pontiac GTO convertible.

John DeLorean (1925–2005) was a genuinely gifted engineer who emerged as one of the charismatic characters responsible for some of the memorable machines General Motors (GM) produced during its golden age of the 1950s & 1960s.  Under Mr DeLorean’s leadership, Pontiac in 1964 released the GTO which is considered (though contested by some) the first “muscle car” and the one responsible for the whole genre which would flourish for a crazy half-dozen years and in 1969 the Grand Prix which defined a whole market segment.  Apparently, the Grand Prix, produced at a low cost and sold at a high price was one of the most profitable lines of the era.  Given this, Mr DeLorean expected a smooth path to the top of GM but for a variety of reasons there were internal tensions and in 1973 he resigned to pursue his dream of making his own car.  It took years however to reach fruition because the 1970s were troubled times and like the Bricklin SV1, the DeLorean Motor Company’s (DMC) gull-winged DeLorean was released into a world less welcoming then had been anticipated.  By 1981, the world was again in recession and the complicated web of financing arrangements and agreements with the UK government to subsidize productions could have worked only if the design was good, demand was strong and the product was well-built, none of which was true.

1969 Pontiac Grand Prix 428 SJ.

As the inventory of unsold cars grew, so did the debt and desperate for cash, Mr DeLorean was persuaded (apparently without great difficulty) to become involved in the cocaine trafficking business which certainly offered fast money but his co-conspirator turned out to be an FBI informant who was a career criminal seeking a reduced sentence (on a unrelated matter) by providing the bureau with “a big scalp”.  At trial in 1984, Mr DeLorean was acquitted on all charges under the rule of "entrapment" but by then DMC was long bankrupt.  In the years since, the car has found a cult following, something due more to its part in the Back to the Future films than any dynamic qualities it possessed.  It was competent as a road car despite the rear-engine configuration and the use of an uninspiring power-plant but, apart from the stainless-steel bodywork and of course the doors, it had little to commend it although over the years there have been a number of (ultimately aborted) revivals and plans remain afoot for an electric gull-wing machine using the name to be released in 2024 or 2025.