Monospecchio

Monospecchio (pronounced mon-oh-spec-kjo)

The Italian for “one mirror”, a descriptor applied to the early production (1984-1987) Ferrari Testarossas (1984-1991).   

1984: The construct was mono- + specchio.  Mono was from the Ancient Greek, a combining form of μόνος (monos) (alone, only, sole, single), from the Proto-Hellenic mónwos, from the primitive Indo-European mey- (small).  It was related to the Armenian մանր (manr) (slender, small), the Ancient Greek μανός (manós) (sparse, rare), the Middle Low German mone & möne, the West Frisian meun, the Dutch meun, the Old High German muniwa, munuwa & munewa (from which German gained Münne (minnow).  As a prefix, mono- is often found in chemical names to indicate a substance containing just one of a specified atom or group (eg a monohydrate such as carbon monoxide; carbon attached to a single atom of oxygen).  The Italian specchio (mirror, table, chart) was from the Vulgar Latin speclum, a syncopated form of the Classical Latin speculum, the construct being speciō +‎ -culum.  Speciō (observe, watch, look at) was from the From Proto-Italic spekjō, from the primitive Indo-European spéḱyeti which was cognate with the Ancient Greek σκέπτομαι (sképtomai), the Avestan (spasyeiti), and the Sanskrit पश्यति (páśyati).  The suffix –culum was (with anaptyxis) from the Proto-Italic -klom, from the primitive Indo-European -tlom, from -trom.  Despite the resemblance, ōsculum and other diminutive nouns do not contain this suffix which was used to form some nouns derived from verbs, particularly nouns representing tools and instruments.

1957 Ferrari 250 Testa Rossa.

The 250 Testa Rossa was created because rule changes for the 1958 season imposed a 3.0 litre displacement limit, rendering the 3.8 Litre 315 S obsolete.  A 250 Testa Rossa sold in a private sale in 2014 for a reported US$39.8 million, exceeding somewhat the US$16.39 million one achieved at auction in 2011.  The (testra rossa literally “red head” in Italian) was a revival of one the factory had last used on the 1954 500 TR, the visual link to the name the red paint applied to the engines' camshaft covers.  The 250 Testa Rossa was part of the team which contributed to Scudaria Ferrari winning the the 1957 World Sportscar Championship. 

BB & BB:  Ferrari 365 GT4 BB (left) on display at the 1971 Turin Motor Show and Brigitte Bardot, supine, 1968 (right).

Appearing also in Formula One and sports car racing, between 1973-1996 Ferrari to used a flat-12 win a number of road cars.  Pedants insist the engines were really 180^o V12s ("flattened V12" in the engineer's slang) because of a definitional distinction related to the attachment and movement of internal components; the external shape is essentially identical but the factory was in general a bit loose with the nomenclature on which purists like to insist.  The first of the road-going flat-12 Ferraris was the 365 GT4 BB (1973-1984), the “BB” long thought to stand for Berlinetta Boxer but Road & Track in 2018 noted RoadRat's publication of an interview with the BB’s designer, Leonardo Fioravanti (b 1938) who admitted it was named after the actress Brigitte Bardot (b 1934), simply because the staff in Ferrari's design office were as besotted with Mademoiselle Bardot as engineers everywhere; "Berlinetta Boxer" was just a cover story.  There’s an undeniable similarity in the pleasing lines of the two and on the factory website, Ferrari later confirmed the story.  Until then "Berlinetta Boxer" was the orthodoxy although there must have been enough suspicion about for someone to speculate the origin might be bialbero, (literally "twin shaft"), a clipping of bialbero a camme in testa (double overhead camshaft (DOHC)) which was from the slang of Italian mechanics.

1975 Ferrari 365 GT4 BB in Verde Germoglio with satin black lower panels over black leather.

The Italian berlinetta translates as “little saloon” and is the diminutive of berlina (sedan) and the 365 GT4 BB in no way resembled a saloon, small or large, Ferrari using the word to describe a two-seat car with a closed cockpit (convertibles are Spiders or Spyders), referred to by most as a coupé.  Nor was the Ferrari’s flat-12 technically a boxer, the boxer configuration one where each pair of opposed pistons move inwards and outwards in unison, the imagery being that of a pugilist, ritualistically thumping together their gloves prior to a bout.  The Ferrari unit instead used the same arrangement as a conventional V12, each pair of pistons sharing a crankpin whereas as true boxer has a separate crankpin for each piston.  This is one practical reason why boxer engines tend not to have many cylinders, the need for additional crankpins adding to weight & length.  Thus the earlier flat-16s, the Coventry Climax FWMW (1963-1965) intended for Formula One and the unit Porsche developed in 1971 for the Can-Am and tested in chassis 917-027 weren't boxers although bulk was anyway a factor in both proving abortive, Porsche instead turbo-charging their flat-12 and Coventry Climax giving up entirely, the FWMW having never left the test-bench.  Despite it all, just about everybody calls the 365 GT4 BB “the Boxer” and its engine a “flat-12”, the factory clearly unconcerned and while cheerfully acknowledging the technical differences, their documents refer to it variously as a “boxer”, a “180^o v12”, a “flat-12” & a “boxer-type” engine.

1985 Ferrari Testarossa “monospecchio-monodado”.  The early cars were fitted with centre-lock magnesium-alloy wheels, chosen for their lightness.  Responding to feedback from the dealer network, as a running-change during 1988, these were substituted for units with a conventional five-bolt design.  The centre-lock wheels were called monodado (one nut) while the five lug-types were the cinquedado (five nut) and because of the time-line, while all the monospecchio cars are also monodado, only some of the monodaddi are monospecchi.

When first shown at the Paris Motor Show in 1984, two features of the Testarossa which attracted much comment were the distinctive strakes which ran almost from the front of the door to the radiator air-intakes ahead of the rear wheel arch and the single, high-mounted external mirror (on the left or right depending on the market into which it was sold).  The preferred term is the native “monospecchio” (one mirror) although in the English speaking-world it has also been called the “flying mirror", rendered sometimes in Italian as “specchio volante” (a ordinary wing mirror being a “specchietto laterale esterno” (external side mirror), proving most things sound better in Italian.  The unusual placement and blatant asymmetry of the monospecchi cars annoyed some and delighted others, the unhappy more disgruntled still if they noticed the vent on right of the front spoiler not being matched by one to the left.  It was there to feed the air-conditioning’s radiator and while such offset singularities are not unusual in cars, many manufacturers create a matching fake as an aesthetic device: the functionalists at Ferrari did not.

Monospecchio: Lindsay Lohan selfies, one mirror at a time.

The regulatory environment in various jurisdictions was a matter of great significance in the Testarossa’s development.  None of the versions of the Berlinetta Boxer had ever been certified for sale in the US which had been Ferrari’s most lucrative market and a core objective was for the Testarossa to be able easily to meet the current & projected regulations in places like the US and EU (European Union) where rules were most strict.  The number of Boxers which privately had been imported into the US to be subjected to the so-called “federalization” process was an indication demand there existed for a mid-engined, 12 cylinder Ferrari.

1985 Ferrari Testarossa “monospecchio-monodado”.  On left-hand-drive (LHD) cars the asymmetric mirror and intake for the air-conditioner's radiator were both on the left; on right-had-drive (RHD) models the mirror shifted to the other side.

One piece of legislation which soon attracted attention was the EU’s stipulations about “full rearward visibility” in the side-view mirrors.  With conventionally shaped automobiles this is usually unchallenging for designers but the Testarossa had a very wide, ascending waist-line and the sheer size of the rear bodywork was necessitated by the twin radiators which sat behind the side-strakes.  As the team interpreted the rule, the elevation of the mirror was the only way to conform but the bureaucrats proved untypically helpful, not changing the rule but providing an interpretation which would make possible the installation of the mirror at the traditional level.  That alone may have been enough to convince the factory to change but there had also been complaints, many from the US, that the monospecchio restricted the vision of oncoming traffic and many missed having a passenger-side mirror, remarking too on the difficulties found when trying rapidly to adapt to the placement, few owners using a Testarossa as their only car.  Thus was taken the decision to phase in the fitting of dual mirrors, mounted in a conventional position at the base of the A pillars.  Shown at the 1986 Geneva Motor Show, the first examples of the new arrangement were those built for European sale, a handful bound for the US revised initially in 1987 with a single, low-mounted mirror before later gaining the same dual arrangement as those sold in Europe.

1989 Ferrari Testarossa "doppiospecchio-cinquedado".  The distinctive side strakes were added because of a unique FRG (Federal Republic of Germany, the old West Germany) regulation which specified the maximum dimensions of apertures, the purpose said to be to prevent a child's head from entering such an opening during an accident.  Thus the fins but as well as meeting the rules, they were designed to take advantage of the properties of fluid dynamics, the air-flow being made less "wavy" and thus reducing turbulence, two vertical fins added to direct lateral air-flow directly into the radiators.  The engineering of the strakes was sound and most thought them aesthetically well-executed but they created such a stir that unfortunately, on both side of the Atlantic, a number of imitators quickly rendered usually fake versions in fibreglass, gluing them to Jaguars, BMWs, Mercedes-Benz and such.  Almost all were applied to cars with front-mounted radiators but this was the 1980s and a subset of the market was receptive.

Caveat emptor: 1986 Ferrari Testarossa in volante "doppiospecchio-monodado" trim.

Being Ferraris with a certain cachet, the monospecchio cars attract additional interest and inevitably there is fakery and folklore.  There exists the odd early Testarossa with either double-high or double-low (doppiospecchio) mirrors but Ferrari insists these are modifications installed either by dealers or owners and there was at a time, a lot of it about.  It wasn’t a simple job, requiring one or two mirrors, window frames and support assemblies and thus always cost somewhere in four figures but, like those who once converted their now precious 1963 split-window Chevrolet Corvettes to 1964’s single piece of glass lest they be thought driving last year’s model, there were those who didn’t wish to look outdated.  Also, the Testarossa was, by Ferrari’s standards at the time, almost mass-produced with over seven-thousand sold and in the aftermath of the severe recession of the early 1990s a glut emerged which for years depressed prices; originality not then the fetish it would later become, modifications to mirrors and other bits & pieces was uncommon.  Still, the factory was known to accommodate special requests from good customers so if a doppiospecchio with high mounts does show up, accompanied with the vital proof of authenticity, it would add a notch of desirability.  Market support for Ferrari’s flat-12 ecosystem (Boxer, Testarossa & 512 TR) is now healthy and, while not matching the buoyancy of the pre-1973 cars (and certainly not the 206 & 246 Dinos), operates well into US$ six figures, the quirk of the monospecchio cars making them much fancied.

Gargoyle & Grotesque

Gargoyle (pronounced gahr-goil)

(1) A grotesquely carved figure of a human or animal crafted as an ornament or projection, especially in Gothic and neo-Gothic architecture.

(2) In architecture, a spout, terminating in a grotesque representation of a human, animal or supernatural figure with open mouth, projecting from the gutter of a building for throwing rain water clear of a building.

(3) Archaic slang for person with a grotesque appearance, especially if small and shrivelled.

(4) Fictional monsters; pop-culture creations inspired by the decorative and/or functional projections in Gothic and neo-Gothic architecture.

1250–1300: From the Middle English gargoile & gargurl (grotesque carved waterspout) from the Old French gargouille & gargoule (throat) and it’s from here modern English gets gargle.  Even in the Gothic period, not all gargoyles were conduits for draining rainwater; many were purely decorative and were therefore grotesques.

Grotesque (pronounced groh-tesk)

(1) In architecture, a thing odd, unnatural or fantastic in the shaping and combination of forms, as in the sixteenth-century decorative style (in any material) combining incongruous human, animal or supernatural figures with scrolls, foliage etc.

(2) Distorted, deformed, weird, antic, wild.

(3) In the classification of art, of or characteristic of the grotesque.

(4) In typography, the family of 19th-century sans serif display types

1555:1565: From the Middle French grotesque from the Italian grottesco (of a cave), derived from grotta from the Vulgar Latin grupta.  Ultimate root is the Classical Latin crypta from which English picked up crypt.  Grotta entered French from the Italian pittura (grottesca) (cave-painting) and it was via French English picked up grotto.  Connection with the decorative forms attached to gothic architecture is the fantastical nature of some cave-paintings.  Spreading from Italian to the other European languages, the term was long used interchangeably with arabesque and moresque for decorative patterns using curving foliage elements.

The Gargoyle and Water Management

Gargoyle: Bern Minster, Switzerland.

Often used interchangeably, the technical difference between gargoyles and grotesques is that gargoyles contain a water sprout, carved usually through the mouth, whereas grotesques do not.  A gargoyle thus has a function in engineering whereas a grotesque’s purpose is essentially decorative although it is nominally functional in that they were believed to provide protection from evil, harmful, or unwanted spirits.  The application of more modern techniques of rainwater management has had the effect of turning many gargoyles into grotesques although architectural historians maintain the original designations.  As long ago as the sixteenth century, drainpipes were installed in the Notre Dame cathedral in Paris so the gargoyles became merely ornamental, although, they did of course continue to ward off evil.

Gargoyle: Cologne Cathedral, Germany.

The number of gargoyles attached to a building and their size and shape was a product of climate and fluid dynamics.  Architects used multiple gargoyles to divide the flow of rainwater off the roof to minimize the potential damage of a rainstorm and that number was influenced by the rainfall prevalent in the area where the structure sat.  The architect needed to consider not the annual rainfall but the heaviest prolonged rain-events expected; they thus had to cater for peak demand and the gargoyles needed to be sufficient in total capacity to evacuate the volume of water expected during the heaviest falls.  To achieve this, a trough was cut in the back of the gargoyle, rainwater typically exiting through the open mouth.  Gargoyles usually assumed their elongated fantastical animal forms because the length of the gargoyle determines how far water was thrown from the wall, the shape thus determined by fluid dynamics.  Prior to the extensive use of pipes reaching to the ground, the gargoyles were sometimes augmented by other techniques; when Gothic flying buttresses were used, aqueducts were sometimes cut into the buttress to divert water over the aisle walls.  Typically cut from stone, Non-ferrous metals and alloys such as aluminium, copper, brass and bronze have been used.

Grotesque: Saint Mary’s Cathedral, Edinburgh.  Technically, this is a pair of chimeras (a subset of the grotesque).

The term originates from the French gargouille (throat; gullet) from the Latin gurgulio, gula & gargula (gullet; throat) and similar words derived from the root gar (to swallow) which represented the gurgling sound of water (such as the Spanish garganta (throat) & g‡rgola (gargoyle)).  It was connected also to the French verb gargariser (to gargle).  Most helpful are the languages where the translation is architecturally precise.  The Italian word for gargoyle is doccione o gronda sporgente (protruding gutter), the German is Wasserspeier (water spewer) and the Dutch is waterspuwer (water spitter or (even better) water vomiter).  A building with gargoyles is said to be "gargoyled" but, during the Middle Ages, babewyn was slang used to describe gargoyles and grotesques, a word derived from the Italian babuino (baboon), an indication of what the things resembled, especially when viewed from a distance.  The size and shape of a gargoyle was thus dictated by function but the detail was left to the imagination of the designer.  Those creating grotesques had few limitations.  Because of the need to scare off and protect from evil or harmful spirits, the carvings often had the quality of chimeras, creatures a mix of different types of animal body parts creating a new animal, some notable chimeras being griffins, centaurs, harpies, and mermaids, these eerie figures serving as a warning to those folk who might underestimate the devil.

Grotesque: National Cathedral, Washington DC.  Although there's an open mouth, this plays no part in water management and is purely decorative.

In water management, the gargoyle has a long history.  In the architecture of Ancient Egypt, there was little variation, the spouts typically in the form of a lion's head carved into the marble or terracotta cymatium of the cornice.  The Temple of Zeus had originally 102 of these but, being rendered from marble, they were heavy and many have broken off or been stolen and only 39 remain.  Nor have they always been chimeric, some instead depicting monks, or combinations of real animals and people, many of which were humorous but as urbanisation increased, building codes were imposed which rendered the gargoyles, expect for their spiritual purpose, obsolete.  Typical was London’s 1724 Building Act which mandated the use of downpipes compulsory on all new constructions.

Gargoyle: Marble Church, Bodelwyddan, Clwyd, Wales.  Note the protruding spout: because the water flow will over time erode the passage, many gargoyles have internal piping (some now even plastic) which is replaceable.  The function means this Welsh figure is defined as a gargoyle although its hybrid nature is clearly that of a chimera.  

Within the Church however, the spiritual function wasn’t without controversy.  Gargoyles were thought to keep evil outside a church but existed also to convey messages to a people who usually were illiterate, scaring them into attending church, a reminder that the end of days was near.  However, there were some medieval clergy who viewed gargoyles as a form of idolatry and Burgundian abbot, Saint Bernard of Clairvaux (1090–1153), was famous for his frequent denunciations, his objections theological, aesthetic and fiscal:

"What are these fantastic monsters doing in the cloisters before the eyes of the brothers as they read?  What is the meaning of these unclean monkeys, these strange savage lions, and monsters?  To what purpose are here placed these creatures, half beast, half man, or these spotted tigers?  I see several bodies with one head and several heads with one body.  Here is a quadruped with a serpent's head, there a fish with a quadruped's head, then again an animal half horse, half goat.  Surely if we do not blush for such absurdities, we should at least regret what we have spent on them."

Grotesque: Crooked Hillary Clinton (digitally altered image).

Even after drainpipes took over responsibilities for drainage, the tradition was maintained by the grotesque, sometimes emulating the earlier elongated lines, sometimes more upright.  Grotesques were popular as decoration on nineteenth and early twentieth century skyscrapers and cathedrals in cities such as New York Minneapolis, and Chicago, the stainless steel gargoyles on New York’s Chrysler Building especially celebrated by students of the art.  The twentieth century collegiate form of the Gothic Revival produced many modern gargoyles, notably at Princeton University, Washington University in Saint Louis, Duke University, and the University of Chicago.  One extensive collection of modern gargoyles is on the National Cathedral in Washington DC.  Beginning in 1908 the cathedral was first encrusted with limestone demons but, over the years, many have been added including Star Wars character Darth Vader, a crooked politician, robots and other modern takes on the ancient tradition.  In England, Saint Albans Cathedral has a grotesque of former Archbishop of Canterbury Dr Robert Runcie and one of an astronaut adorns the Cathedral of Salamanca in Spain.

Grotesques modernes, left to right: Star Wars' Darth Vader (from the Star Wars film franchies), National Cathedral, Washington DC; Astronaut or cosmonaut, Cathedral of Salamanca, Spain; Lindsay Lohan, Notre Dame Cathedral of Reims, Marne France (digitally altered image); Dr Robert Runcie (Baron Runcie, 1921–2000; Archbishop of Canterbury 1980-1991) (centre), St Albans Cathedral, England.

Grotesques and chimeras

A chimera of Cathédrale Notre-Dame de Paris, contemplating the city, photographed by Noemiseh91.

So, in architecture, gargoyles are a specialized class of grotesques that include the functional feature of a waterspout and even if a building is renovated with a modern water management system added which means a gargoyle’s spout now longer is connected to the flow, it does not become reclassified as a grotesque; it remains a gargoyle, albeit a “dry” one.  While the difference between a gargoyle and grotesque is a matter of whether the design incorporates the handling of fluid, the distinction between a chimera and a grotesque is at the margins fluid in the metaphorical sense, both being ornamental sculptures most associated with Gothic architecture but critics have created criteria, however loose the parameters may seem.  Classically, a chimera was a fantastical, mythical creature, often a hybrid of multiple animals or a mix of human and animal features and for the architectural feature to be classified thus, it has to conform to this model.  In that chimeras differ from any grotesque which is a representation, however bizarre, of a creature from a single species.  What that means is that while all chimeras are grotesques, not all grotesques are chimeras.

Horodecki House (House with Chimaeras), Ukraine, Kyiv.

One of the most celebrated buildings said (erroneously) to be adorned with chimeras is Horodecki House in the Ukrainian capital Kyiv, a structure better known on Instagram as “House with Chimaeras” which received much attention when Volodymyr Zelensky (b 1978, president of Ukraine since 2019) in February 2022 stood in front of it to deliver his “Our weapon is truth” address following the Russian “special military operation” (invasion of Ukraine).  Classified as being in the Art Nouveau style, the building was designed by Polish architect Władysław Horodecki (1863–1930) and despite all the intricate detailing and other complexities, it was completed in little more than two years, opened in 1903.  One thing which made the speed of construction possible was the core technique of using concrete piles as the underpinning, something necessitated by the land being steeply sloped, resulting in an asymmetric building with six floors on Ivan Franko Square while three face Bankova Street.  Another novelty was the use of cement as the finishing material, something at the time not unknown but still rare.  Despite the popular moniker “House with Chimaeras”, the many sculptures which lend Horodecki House its distinctiveness are technically grotesques because all, bipeds & quadrupeds, are representations of real animals, not figures from mythology or fantastical hybrids and it’s believed it picked up the romantic nickname because it imparts such a wonderful air of gloominess and recalls the Gothic style.  The grotesques, rendered in cement, were the work of the Italian sculptor Emilio Sala (1864-1920) who spent most of his working life in St Petersburg (Leningrad) and Kyiv (Kiev).

Interior detailing, Horodecki House Ukraine, Kyiv.

The motif was the theme also for the interior detailing with stuccos, high reliefs and sculptures decorating the ceilings, walls and stairs and of particular interest is that while what’s depicted on the exterior uses only living creatures as a model, inside, everything is dead and often dismembered; Horodetskyi was an avid hunter.  Despite the pervasive feeling of gloom as one approaches the thing, it’s different inside because (the many carcases notwithstanding) the rooms are bright and airy with the floral ornaments typical of early Modernism although it’s of regret all the original furniture and many of the frescos fell victim during World War II (1939-1945) to marauding Red Army soldiers and other looters.  Although in recent years substantially restored, no attempt was made to re-create the frescos, the space now taken by paintings.

Woman with Catfish, Horodecki House Ukraine, Kyiv, photographed by Константинъ. 

Although there are two creatures in this sculpture, it's still a grotesque because they're separate beings; had the depiction been part fish and part human, it would have been as chimaera.  Although large, certain catfish reach 3 metres in length so the sculptor was rendering still still in the realist tradition.

Following restoration, in 2004 the building was designated a museum but since 2005 it has enjoyed official status as the “Small Residence of the President of Ukraine”, curious term meaning it’s used for meetings with foreign dignitaries and in that there are many advantages, the location meaning it’s easy for security forces to secure the site while the larger rooms are spacious and make a most attractive backdrop for photo opportunities.  Daily Art Magazine has a feature with a fine collection of images.

Rat

Rat (pronounced ratt)

(1) In zoology, any of several long-tailed rodents of the family Muridae, of the genus Rattus and related genera, distinguished from the mouse by being larger.

(2) In (scientifically inaccurate) informal use, any of the numerous members of several rodent families (eg voles & mice) that resemble true rats in appearance, usually having a pointy snout, a long, bare tail, and body length greater than 5 inches (120 mm).

(3) In hairdressing, a wad of shed hair used as part of a hairstyle; a roll of material used to puff out the hair, which is turned over it.

(4) In the slang of certain groups in London, vulgar slang for the vagina.

(5) As “to rat on” or “to rat out”, to betray a person or party, especially by telling their secret to an authority or enemy; to turn someone in.

(6) One of a brace of rodent-based slang terms to differentiate between the small-block (mouse motor) and big-block (rat motor) Chevrolet V8s built mostly in the mid-late twentieth century but still available (as "crate" engines) from US manufacturers.

(7) As RAT, a small turbine that is connected to a hydraulic pump, or electrical generator, installed in an aircraft and used as a power source.

(8) Slang term for a scoundrel, especially men of dubious morality.

(9) In the criminal class and in law enforcement, slang for an informer.

(10) In politics, slang for a person who abandons or betrays his party or associates, especially in a time of trouble.

(11) Slang for a person who frequents a specified place (mall rat, gym rat etc).

(12) In hairdressing, a pad with tapered ends formerly used in women's hair styles to give the appearance of greater thickness.

(13) In the slang of blue-water sailors, a place in the sea with rapid currents and crags where a ship is prone to being broken apart in stormy weather.

(14) In zoology (in casual use), a clipping of muskrat.

Pre 1000: From the Middle English ratte, rat & rotte, from the Old English ræt & rætt, and the Latin rodere from the Proto-Germanic rattaz & rattō (related also to the West Frisian rôt, the German Ratz & Ratte and the Swedish råtta & the Dutch rat), of uncertain origin but perhaps from the primitive Indo-European rehed- (to scrape, scratch, gnaw).  Zoological anthropologists however point out it’s possible there were no populations of rats in the Northern Europe of antiquity, and the Proto-Germanic word may have referred to a different animal.  The attestation of this family of words dates from the twelfth century.  Some of the Germanic cognates show considerable consonant variation such as the Middle Low German ratte & radde and the Middle High German rate, ratte & ratze, the irregularity perhaps symptomatic of a late dispersal of the word, although some etymologists link it with the Proto-Germanic stem raþō (nom); ruttaz (gen), the variations arising from the re-modellings in the descendants.

Mall rats.  In North America and other developed markets, there is now less scope for habitués because changing consumer behavior has resulted in a dramatic reduction in the volume of transactions conducted in physical stores and some malls are being either abandoned or re-purposed (health hubs and educational facilities being a popular use).  

The human distaste for these large rodents has made rat a productive additive in English.  Since the twelfth century it’s been applied (usually to a surname) to persons either held to resemble rats or share with them some characteristic or perception of quality with them. The specific sense of "one who abandons his associates for personal advantage" is from the 1620s, based on the belief that rats leave a ship about to sink or a house about to fall, and this led to the meaning "traitor” or “informant" although, perhaps surprisingly, there no reference to rat in this sense prior to 1902 where as the modern-sounding sense of associative frequency (mall-rat, gym-rat etc) was noted as early as 1864, firstly as “dock-rat”.  Dr Johnson dates “to smell a rat”, based on the behaviour of cats, to the 1540s.  Sir Boyle Roche (1736-1807), was an Irish MP famous for mangled phrases and mixed metaphors, of the best remembered of which was “I smell a rat; I see him forming in the air and darkening the sky; but I'll nip him in the bud".  There’s the rat-terrier (1852), the rat-catcher (1590s), the rat-snake (1818), rat-poison, (1799), the rat trap (late 1400s), the rat-pack (1951) and rat-hole which in 1812, based on the holes gnawed in woodwork by rats meant “nasty, messy place”, the meaning extended in 1921 to a "bottomless hole" (especially one where money goes).  Ratfink (1963) was juvenile slang either coined or merely popularized by US custom car builder Ed "Big Daddy" Roth (1932-2001), who rendered a stylised rat on some of his creations, supposedly to lampoon Mickey Mouse.

Cricket's most infamous rat (mullygrubber), MCG (Melbourne Cricket Ground), 1 February, 1981.  In the 1970s brown & beige really had been a fashionable color combination but this was the combo's death knell.

Rat has a specific meaning in the cricketing slang of the West Indies, referring to a ball which, after being delivered by the bowler, rather than bouncing off the pitch at some angle, instead runs along the ground, possibly hitting the stumps with sufficient force to dislodge the bails, dismissing the batsman, the idea being of a rat scurrying across the ground.  In Australian slang, the same delivery is called a mullygrubber which, although it sounds old-fashioned, is said to date only from the 1970s, the construct thought based on the dialectal rural term mully (dusty, powdery earth) + grub(ber) in the sense of the grubs which rush about in the dirt if disturbed in such an environment.  Such deliveries are wholly serendipitous (for the bowler) and just bad luck (for the batsman) because it's not possible for such as ball to be delivered on purpose; they happen only because of the ball striking some crack or imperfection in the pitch which radically alters it usual course to a flat trajectory.  If a batsman is dismissed as a result, it's often called a "freak ball" or "freak dismissal".  Of course if a ball is delivered underarm a rat is easy to effect but if a batsman knows one is coming, while it's hard to score from, it's very easy to defend against.  The most infamous mullygrubber was bowled at the Melbourne Cricket Ground (MCG) on 1 February 1981 when, with New Zealand needing to score six (by hitting the ball, on the full, over the boundary) of the final delivery of the match, the Australian bowler sent down an underarm delivery, the mullygrubber denying the batsman the opportunity to score and securing an Australian victory.  Although then permissible within the rules, it was hardly in the spirit of the game and consequently, the regulations were changed.

The Ram Air Turbine

Ram Air Turbine (RAT) diagram.

The Ram Air Turbine (RAT) is a small, propeller-driven turbine connected to a hydraulic pump, or electrical generator, installed in an aircraft to generate emergency power.  In an emergency, when electrical power is lost, the RAT drops from the fuselage or wing into the air-stream where it works as a mini wind-turbine, providing sufficient power for vital systems (flight controls, linked hydraulics and flight-critical instrumentation).

Vickers VC10 in BOAC (British Overseas Airways Corporation (1939-1974) livery.

Built between 1962-1970, although fast and a favorite with passengers because the rear-engine layout guaranteed a quiet cabin, only 54 VC10s were built and, in a market dominated by Boeing's epoch-making 707 (1956-1978), success proved elusive.  Even before the 747 in 1969 ushered in the wide-body era it was clear the elegant VC10 was a cul-de-sac but the airframe enjoyed a long career.  The RAF (Royal Air Force) had some configured as VIP transports and the last of those used as tankers for in-flight re-fueling platforms weren't retired until 2013.

Most modern commercial airliners are equipped with RATs, the first being installed on the Vickers VC10 in the early 1960s and the big Airbus A380 has the largest RAT propeller in current use at 64 inches (1.63 metres) but most are about half this size.  It’s expected as modern airliners begin increasingly to rely on electrical power, either propeller sizes will have to increase or additional RATs may be required, the latter sometimes the desirable choice because of the design limitations imposed by the height of landing gear.  A typical large RAT can produce from 5 to 70 kW but smaller, low air-speed models may generate as little as 400 watts.  Early free-fall nuclear weapons used rats to power radar altimeters and firing circuits; RATS being longer-lasting and more reliable than batteries.  

A RAT deployed.

The airline manufacturers have been exploring whether on-board fuel-cell technology can be adapted to negate the need for RAT, at least in the smaller, single-aisle aircraft where the weight of such a unit might be equal to or less than the RAT equipment.  The attraction of housing in an airliner's wing-body fairing is it would be a step towards the long-term goal of eliminating an airliner's liquid-fuelled auxiliary turbine power unit.  Additionally, if the size-weight equation could be achieved, there’s the operational advantage that a fuel-cell is easier to test than a RAT because, unlike the RAT, the fuel-cell can be tested without having to power-up most of the system.  The physics would also be attractive, the power from a fuel cell higher at lower altitudes where as the output of a RAT declines as airspeed decreases, a potentially critical matter given it’s during the relatively slow approach to a landing that power is needed to extend the trailing edge of the wing flaps and operate other controls.

If the weight and dimensions of the fuel cell is at least "comparable" to a RAT and the safety and durability testing is successful, at least on smaller aircrafts, fuel-cells might be an attractive option for new aircraft although, at this stage, the economics of retro-fitting are unlikely to be compelling.  Longer term research is also looking at a continuously running fuel cell producing oxygen-depleted exhaust gas for fuel-tank inerting (a safety system that reduces the risk of combustion in aircraft fuel tanks by lowering the oxygen concentration in the ullage (the space above the fuel) to below the level needed to support a fire, typically by replacing oxygen with an inert gas like nitrogen), and water for passenger amenities, thereby meaning an aircraft could be operated on the on the ground without burning any jet-fuel, the fuel-cell providing power for air conditioning and electrical systems.

1944 Messerschmitt Me 163 Komet  (1944-1945).

The only rocket-powered fighter ever used in combat, the Messerschmitt Me 163 Komet had a small RAT in the nose to provide electrical power.  The early prototypes of the somewhat more successful (and much more influential) Messerschmitt Me 262 jet fighter also had a propeller in the nose for the first test flights but it wasn't a a RAT; it was attached to a piston engine which was there as an emergency backup because of the chronic unreliability of the early jet engines.  It proved a wise precaution, the jets failing on more than one occasion.

1974 Suzuki's air-cooled GT380 Sebring with Ram Air System (left) and 1975 Suzuki GT750 with water-cooling (right).

The other “Ram Air” was Suzuki’s RAS (Ram Air System), fitted to the GT380 Sebring (1972-1980) and GT550 Indy (1972-1977) as well as (off and on) several version of the smaller two-cylinder models.  It wasn’t used on the water-cooled GT750 Le Mans (1972-1977) because the radiator acted to impede the airflow to the engine.

The GT380, GT550 and GT750 were two-stroke triples noted for an unusual 3-into-4 exhaust system which the central header-pipe was bifurcated, thus permitting four tail-pipes.  There was no justification in engineering for this (indeed it added cost and weight) and it existed purely for visual effect, allowing an emulation of the look on the four-cylinder Hondas and Kawasakis.  Ironically, despite the additional metal, the asymmetric 3-into-3 system on the Kawasaki triples (1969-1976) is better remembered although the charismatic (if sometimes lethal) qualities of the machines may be a factor in that; exhaust systems do exert a powerful fascination for motor-cyclists.  The RAS was nothing more than a cast aluminum shroud fixed atop the cylinder head to direct air-flow, enhancing upper cylinder cooling.  The “ram air” idea had been used in the 1960s by car manufacturers to “force feed” cool air directly into induction systems and when tested it did in certain circumstances increase power but whether Suzuki's RAS delivered more efficient cooling isn’t clear.  When the twin-cylinder GT250 Hustler (1971-1981 and thus pre-dating the pornography magazine Hustler, first published in 1974) was revised in 1976, the RAS was deleted and replaced by conventional fins without apparent ill-effect but the RAS was light, cheap to produce, maintenance-free and looked sexy so some advantages were certainly there.  Interestingly, the companion GT185 (1973-1978) retained the RAS for the model’s entire production.

Big and small-block Chevrolet V8s: the Rat and the Mouse

Small and big-block Chevrolet V8s compared, the small-block (mouse) to the left in each image, the big-block (rat) to the right.

Mouse and rat are informal terms used respectively to refer to the classic small (1955-2003) and big-block Chevrolet V8s (1958-2021).  The small-block was first named after a rodent although the origin is contested; either it was (1) an allusion to “mighty mouse” a popular cartoon character of the 1950s, the idea being the relatively small engine being able to out-perform many bigger units from other manufacturers or (2) an allusion to the big, heavy Chrysler Hemi V8s (the first generation (Firepower) 331 cubic inch (5.4 litre), 354 (5.8) & 392 (6.4) versions) being known as “the elephant”, the idea based on the widely held belief elephants are scared of mice (which may actually be true although the reason appears not to be the long repeated myth it’s because they fear the little rodents might climb up their trunk).  Zoologically, "bee" might have been a better choice; elephants definitely are scared of bees.  The mouse (small-block) and rat (big-block) distinction is simple to understand: the big block is externally larger although, counterintuitively, the internal displacement of some mouse motors was greater than some rats.  

1970 Chevrolet Chevelle SS 396 (with 402 cid V8).

Whether that seeming anomaly (actually common throughout the industry during the big-block era) amused or disturbed the decision-makers at Chevrolet isn't known but in 1970 when the small block 400 (6.6) was introduced, simultaneously the big-block 396 (6.5) was enlarged to 402 (6.6) but the corporation then muddied the waters by continuing to call the 402 a "Turbo-Jet 396" when fitted to the intermediate class Chevelle, the rationale presumably that "SS 396" had such strong "brand recognition".  Available since 1965, by 1969 the SS 396 Chevelle was finally out-selling the Pontiac GTO (which in 1964 had seeded the muscle car movement) so the attachment was understandable.  Further to confuse people, the 400 was advertised as the "Turbo-Fire 400" while if fitted to the full-size line, the 402 was called the "Turbo-Jet 400".  Presumably, the assumption was anyone understanding the 400 & 402 ecosystems would buy the one they wanted while those not in the know would neither notice nor care.  Nor was the deviation in displacement between what was on the badge and what lay beneath the hood (bonnet) exclusive to Chevrolet, there being a long list of things not quite what was on the label although the true specifications usually were listed in the documentation and even the advertising.  The variations occurred for a number of reasons but rarely was there an attempt to deceive, even if sometimes things were left unstated or relegated to the small print.

The “428 Cobra Matter”

That’s not to say there were no disputes about the difference between what was “in the tin” compared with what was “on the tin”.  In June 1969, a certain Mr Karl Francis “Fritz” Schiffmayer (1935-2010) of Lake Zurich, Illinois, wrote to Ford’s customer relations department complaining about the “427 Ford Cobra” he had purchased (as a new car) from a Chicago “Ford Dealer”.  What disappointed Mr Shiffmayer was the performance which didn’t match the widely publicized numbers achieved by many testers and, perhaps more to the point, he found his “$8500 Super Ford could barely keep up with” various $5000 Chevrolets.  For a Ford driver, few things could be more depressing.  Upon investigation, he discovered that despite “‘427’ signs all over the engine and the front fenders”, his car was not “a ‘427’ as advertised and labelled but a ‘428’”.  Both V8s were around seven litres but were in many ways not comparable.

Mr Shiffmayer's letter to Ford, 23 June 1969.

Notionally, Mr Shiffmayer got more than he paid for (ie 428 v 427 is nominally an extra cubic inch) and had he bought a dozen (12) bread rolls from the bakery and been supplied a “baker’s dozen” (13) there’d have been no grounds for complaint because bread rolls are a “fungible” (ie functionally identical) so getting 13 is always better than getting 12 at the same price.  However, the 427 and 428 engines, although from the same FE (Ford-Edsel) family and externally similar (until closely inspected), were very different internally with the former notably more oversquare (ie big-bore) and fitted with cross-bolted main bearings; additionally, the 427s used in the Cobras featured “side-oiling”, a more extensive system of lubrication which afforded priority deliver of oil to the bottom-end, making the engine more robust and better suited to the extreme demands of competition.  By contrast, the a Cobra’s 428 was a modified version of the “Police Interceptor 428”, a high-output edition of a powerplant usually found in Ford’s full-sized line including luxury cars and station wagons where it’s smoothness and effortless low-speed torque was appreciated.  The “Police Interceptor” specification was literally that: the engine used by law enforcement in highway patrol vehicles and for street use, it offered a useful lift in performance but it was not suitable for racetracks.  Later, Ford would “mix & match” the 427 & 428 to create the 428 Cobra Jet, the 427’s heads, intake manifold and some other “bolt-on” bits & pieces creating a combination of power and torque close to ideal for ¼ mile (402 m) runs down drag strips although even then Ford cheated, under-rating the output so the cars would be placed in a different category.  That year, in drag racing, the 428 Cobra Jet Mustangs dominated their class which prompted the sanctioning body to change the rules, imposing their own nominal output ratings rather than accepting those of the manufacturer.  Still, even the Cobra Jet 428 remained suitable only for street and strip because ¼ mile runs were done in a straight line and, without the cross-bolting and enhanced lubrication, it wouldn’t have matched the 427’s ability to endure the extreme lateral forces encountered on high-speed circuits.

AC Shelby Cobra CSX3209 after 427 transplant.

That “427 Cobras” with 428 engines even existed was a product of circumstances rather than planning.  Although now million dollar collectables, it’s sometimes forgotten the 427 Cobra was a commercial failure and that meant production numbers never reached the levels required for homologation to be granted for competition in the category for which it was intended so as well as not selling as well as the small block predecessors on which the model’s reputation was built, nor did the seven litre version ever match its success on the track.  When it came time to build the second batch of 100 427 Cobras, the engine was in short supply because the intricacies in construction, coupled with the wider bore being at the limit the block would accommodate (at the foundry, with a slight shifting of the casting cores, a 427 block would have to be scrapped), it was expensive to produce and inconvenient for Ford to schedule in the small batches the sales supported.  The cheap, mass-produced 428 Police Interceptor was both readily available and half the cost so it was an attractive alternative for Shelby and that it bolted straight without needing any changes made it more desirable still; thus 428-powered “427s”.  For the final run of 48, Shelby procured from Ford genuine 427 side-oilers so the 100 428s were a minority of the big-blocks used and many have since been converted (“rectified” some prefer to say) with the substitution of a 427.  Interestingly, four of the 428s were fitted with automatic transmissions which actually made them more-suitable for street use but nobody seems subsequently have done this as a modification.

Shelby American's reply to Mr Shiffmayer, 21 July 1969.

As it was, As it was, Mr Shiffmayer decided to persevere and kept Shelby Cobra CSX3209 until he died, in the 1970s replacing the 428 with a specially built “tunnel port” (a trick with the pushrods to optimize the fluid dynamics of the fuel-air flow) 427.  Whether he was impressed with the reply (Ford referred his letter to Shelby American) he received in response to his complaint isn’t known but it’s an interesting document for a number of reasons:

(1) “…during the five year existence of the Cobra, three engines were used, the 289, the 427 and the 428.”  Actually, the first 75 used the 260.

(2) “Only a very few of the 959 Cobras built contained the 427 engine.”  Actually of the 998 built (in fairness this wasn’t in 1969 the agreed “final count” but it’s hard to understand how 959 was calculated) more than 150 had the 427 and whether this constitutes “very few” is debatable but it’s also not relevant to the complaint.

(3) “The 427 is a nomenclature such as the GT-500 is for the Shelby car.  It does not relate to the cubic displacement of the engine.  We are sorry that this misunderstanding occurred.”  Actually, when the Cobra 427 was released, “427” was a direct reference to displacement.  The “GT500” label was never likely to cause a “misunderstanding” because (1) there was no Ford 500 cid engine and (2) the GT500 was always advertised as being equipped with the 428.

Indisputably as labeled: 1966 Shelby 427 S/C Cobra (CSX 3040).  In 2018, it sold at auction for US$2,947,500.

So, the letter from Shelby really wasn’t a great deal of help (it was dated the day after man set foot on the moon so perhaps the writer's attention was divided).  Were such a case now to go to court several matters would need to be considered:

Was it notorious (ie widely known; common knowledge) in the circles of potential purchasers of such a car that some were powered by 427s and some by 428s and the differences between the two were well documented?  According to some sources, it was only after the “428 Cobra matter” began to attract comment that sales literature was updated to reflect the changed specification while others maintain publication was concurrent with production.

Was the fact the car had only “427” badges an indication of which engine was fitted or just a “model name” al la the Shelby GT500 (which used a 428) & GT350 (which used either a 289 or 302 (and later a 351))?  That originally (in 1965) “427” was a reference to the 427 engine seem incontestable but the question would be whether this changed to a mere “model name” when the 428 was adopted.  It would seem the evidential onus of proof of that would rest with Shelby American.

When making the decision to purchase, did the buyer rely on representations from an authority (in this case a “Ford dealer”) which might reasonably have been expected to (1) possess and (2) communicate all relevant facts?  In that matter, the court would need to consider whether, in the circumstances, there is any substantive difference between a “Ford dealer” and a “Shelby franchised dealer”.  This would be decided by (1) any competing claims from the parties and (2) what documents were supplied prior to or at the point of purchase.

Is it relevant that in 1966-1967 when Ford offered both the 427 & 428 in the Galaxie, that car was sold as the “7 Litre” (they really did use the French spelling) irrespective of which seven litre (427 or 428) V8 was fitted?  Given that, should the Cobra have been thus labelled and was the continued use of the 427 badge a misrepresentation in 428-powered cars?

Was the dealer aware of the buyer’s background?  Mr Shiffmayer was (1) an engineer with a degree in mechanical engineering from the University of Wisconsin and (2) he was not only an owner of a 289 Shelby Cobra but also raced it with notable success.  If the dealer was aware of those facts that doesn’t absolve them of a responsibility fully to disclose all relevant information but a court could consider it a mitigating factor.  If the dealer was aware those facts, what would then have to be considered is whether it would have been reasonable for it to be assumed the buyer either knew of the mechanical details or could reasonably have been expected to know.

Evidence: Shelby American "Shelby Cobra 427" spec sheet listing the 428 as the engine, thereby suggesting "427" was a model name rather than a reference to a specific engine.  The significance of this document rests on whether it appeared before or after Shelby American began selling 428 powered Cobras.