Oculus

Oculus (pronounced ok-yuh-luhs)

(1) In anatomy, an eye.

(2) In architecture, a window or other circular (or oval) opening, especially one at the apex of a dome.

(3) In archaeology, a design representing an eye, as on funerary pottery found in megalithic tombs of Europe.

(4) In the mechanical engineering (associated with fluid dynamics), the central boss of a volute.

(5) In poetic and literary use, luminary of the sun and stars; eye of the soul, mind's eye; a spot resembling an eye, such as on a peacock feather; a principle ornament or the main feature of something.

(6) In botany, a bud, bulb or knob on many roots, on the reed etc.

(7) As oculist (plural oculists), one who practices the discipline of oculism (an archaic name for an ophthalmologist or optometrist).

1857: From the Latin oculus (an eye), from the Proto-Italic okwelos, from the primitive Indo-European hsokw (eye; to see).  It was cognate with the Sanskrit अक्षि (ákṣi), the Ancient Greek ὄσσε (ósse), the Gothic augō, the Old English ēaġe (from which Modern English would gain eye) & the Proto-Slavic oko.  Originating in antiquity, it was a widely used feature of Byzantine and Neoclassical architecture, known in French as the œil de boeuf (bull's-eye).  The noun plural is oculi.  An impressively long word with the same root is ocularpneumoplethysmography, a non-invasive technique for detecting carotid stenosis by measurement of ophthalmic artery pressure.  Oculus & oculist are nouns; the noun plural is oculi (under the standard rules of English plural formations, the result would be oculuses by that seems to have been too awful to contemplate). 

The Pantheon

The Pantheon in Rome (from the Latin Pantheum, from the Ancient Greek Πάνθειον (Pantheion) ([temple] of all the gods) was built as a Roman temple and since the 609 has been a Roman Catholic church (Basilica di Santa Maria ad Martyres or Basilica of Saint Mary and the Martyrs).  It was built on the site of an earlier temple constructed during the time of Christ and rebuilt by the Emperor Hadrian circa 126 AD, the actual date uncertain because Hadrian retained the old inscriptions.

Cylindrical with a portico of sixteen staggered Corinthian columns, the dome has a diameter of 43.2m (142 feet) and was for over 1300 years the largest in the world and remains, after some two-thousand years, the largest unreinforced concrete dome, a feat achieved by a gradual reduction in the thickness and weight of the materials used for the upper layers.  Each of the granite columns weigh sixty tons.  Quarried in Egypt, they were dragged 100 km (60 miles), placed on barges and shipped up the Nile to Alexandria where they were transferred to boats to cross the Mediterranean to the port of Ostia.  From there, they were sent by barges, up the Tiber to Rome where they were dragged to the construction site for erection.

The dome was originally covered in bronze and there are reports from travelers of it sparkling in the sunlight, the glint playing on the surrounding skyline.  However during the middle ages most was pilfered, sometimes with official sanction, sometimes not, the shortage of building materials often acute.  The last of it, Pope Urban VIII (Maffeo Barberini, 1568–1644, pope 1623-1644) in 1631, needing ordinance for his military campaigns to expand the borders of the Papal States, stripped what bronze remained as well as that from the portico to melt down for cannons.  Romans, as cynical about their rulers then as now, were soon sharing the saying “quod non fecerunt barbari, fecerunt Barberini” (what was not done by the barbarians, was done by the Barberini).

The ass's ears, circa 1860.

Roman architect and Engineer Marcus Vitruvius Pollio (circa 75-10 BC) wrote the influential De architectura which defined the building and aesthesis standards of Classical architecture and the design of the Pantheon follows his rules, height and width exactly match, meaning a perfect sphere would precisely fit inside the dome.  Vitruvius would not have been best pleased at the additions made in the 1600s by Urban VIII.  Sometimes wrongly blamed on Bernini, pontiff turned amateur architect added two bell towers to the sides of the façade which, although disliked by Romans who nicknamed them le orecchie del culo (the ass’s ears), it wasn’t until late in the nineteen century they were finally demolished.

The Pantheon, Rome.

The oculus in the Pantheon is the most famous of the many built by the Romans.  Open to the weather, it allows rain to enter and fall to the floor, where it is carried away through drains. A masterpiece of Roman architectural scale, though it looks small, the oculus’ diameter is 27 feet (8.2m) allowing it to light the building as the sun lights the earth and rain also keeps the building cool during the hot summer months.  A clever trick of lighting (and mathematics) was played out on every 21 April, the founding date of Rome.  At midday, the sunlight hits the metal grille above the door, filling the entrance way with light, timed to coincide with a ceremony at which the emperor appears in the space, reflecting his status as either an earthly god on one on whom the blessings of the gods shone.  Which of these applied depended on the Emperor.  In style, if not scale, the Pantheon was the inspiration for the Große Halle (Great Hall (and referred to in contemporary documents also as the Volkshalle (People's Hall or Ruhmeshalle (Hall of Glory)) which was to be the centrepiece of Germania as Berlin was to be re-named upon becoming the capital of the Third Reich.

Albert Speer's (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) post-war memoirs (1969) are not wholly truthful but on matters of architecture they are thought reliable and provide an insight not only into the grandiose plans but also the political and psychological aspects of representational buildings to which Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) attached such importance.  The monumental size alone was significant and despite Hitler being scornful of the mystical notions of some of his paladins, Speer was convinced that inherent in the awe-inspiring scale of the designs was the idea of them becoming places of worship, something which would be reinforced as they aged, unchanged, over the centuries.  Able to accommodate 150-180,000 people, the dome would have had a diameter of 250 metres (825 feet). rising in a slightly parabolic curve to a height of 221 metres (726 feet) while the oculus would be 46 metres (152 feet) in diameter, larger than the entire dome of either the Pantheon (43 metres (142 feet)) or that of St Peter's Basilica (44 metres (145 feet)).  The interior would be 16 times the volume of St Peter's.

Model of the Great Hall intended for Germania.

Speer also noted that even in the late 1930s when first he showed the architectural drawings to Hitler, the Führer suspended belief in facts when it suited him.  Because it was technically possible, Speer originally envisaged building the dome without the use of any structural steel but Hitler objected that were it to be struck by a bomb, the vaulting might be so damaged that without a supporting framework, repairs would be impossible.  Speer conceded the point but when he had questioned whether it was wise to have so tall a structure build in the very heart of the Reich's capital where it would act as a navigational aid for attacking bombers, Hitler breezily replied that Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) had assured him his Luftwaffe would ensure "no enemy plane will ever enter Germany's skies".  Infamously, the Reichsmarschall would boast to the German people: "If as much as a single enemy aircraft flies over German soil, my name is Meier!"; the Royal Air Force's (RAF) bombing raids on Berlin soon began.

Lindsay Lohan with peacock feathers. during blonde phase.

The eye-like feature on a peacock's tail-feathers is called an oculus and because the collective noun for a group of peacocks (peafowl) is "an ostentation", these several could be styled "an ostentation of oculi".  This photograph is available as a 2024 calendar.                   

Cupola

Cupola (pronounced kyoo-puh-luh)

(1) In architecture, a light structure on a dome or roof, serving as a belfry, lantern, or belvedere (some functional, some merely ornamental).

(2) Any of various dome-like structures (especially in architecture or one covering a circular or polygonal area).

(3) In naval architecture, a protective dome for guns on a warship

(4) In armored vehicles, a raised structure with a narrow aperture for viewing, sometimes fitted with a gun or flame-thrower.

(5) In geology, an upward-projecting mass of plutonic rock extending from a larger batholith.

(6) In metallurgy, a vertical, air-blown coke-fired cylindrical furnace in which iron is re-melted for use in casting.

(7) In geometry, a solid formed by joining two polygons, one (the base) with twice as many edges as the other, by an alternating band of isosceles triangles and rectangles.

(8) In anatomy, a small cap over a structure, shaped like a dome or inverted cup.

(9) In railway carriage design, a small viewing window in the top of the caboose (guard’s van) for looking over the train, or the part of the caboose where one looks through this window (obsolete).

1540–1550: From the Italian cupola, from the Late Latin cūpula (a small cask; a little tub), from the Classical Latin cuppella, from cuppa & cūpa (tub), from the Ancient Greek κύπελλον (kúpellon) (small cup), the construct being cūp(a) + -ula, from the primitive Indo-European -dlom (the instrumental suffix) and used as a noun suffix denoting an instrument.  The origin in Latin was based on the resemblance to an upturned cup, hence the use to describe the rounded top of just about any structure where no specific descriptor existed.  Cupola is a noun and cupolated & cupolar are adjectives; the noun plural is cupolas or cupolae.

Cupola on the dome of St Peter's Basilica, Vatican City, Rome.

In architectural history, the cupola is considered a descendent of the oculus, which may seem strange given the evidence suggests domes came first but a cupola is something which can be added to a dome and the earliest may have been “bolted on” when the open nature of an oculus proved troublesome.  Fitted with one or more windows, they would still permit the entry of light but keep out the wind and rain.  From this functional origin, they became popular as features to crown turrets, roofs, and larger dome.  Confusingly, architects at one point decided a cupola was also the inner vault of a dome so historic plans and descriptions need to be read with care.  Although classically dome-like in shape, most modern cupolas are more angular.

Onion domes on the Kremlin, Red Square, Moscow, Russia.

Cupolas were a favorite in early Islamic architecture and began their proliferation the mid-late eighth century, presumably because they were a perfect decorative addition to a mosque’s minarets but such was the appeal they would appear also in the core of the building or at its corners.  Before long, they were a regular part of commercial and residential buildings, valued not only as decoration but as a light source and for the ease with which they could sit atop vertical ducts used for ventilation.  It was the Islamic influence which was responsible for the best known motif of Russian architecture, the onion dome which was well suited to the northern climate because, constructed with severe lines, effortlessly they resisted the gathering of snow.  The Moors brought the design to Spain and whatever religious conflicts may for centuries have disfigured the Middle East & Europe, Architectural taste proved ecumenical and onion domes can still be seen atop Christian churches in Austria and southern Germany.

US Marine Corps M17 flame-thrower in use, the M1919A4 Browning .30 caliber medium machine gun to the right is hard-mounted in the tank commander's cupola, South Vietnam, 1968.

In military use, a cupola is basically a helmet fixed in place and that may be on a building, a ship or an armored vehicle, the function being to protect the head while offering a field of view.  Sometimes, especially in tanks or armored cars, guns or flame-throwers were integrated into cupolas and in naval gunnery, there was the special use to describe the dome-like structures protecting a (usually single) gun mounting, something which distinguished them from the larger, flatter constructions which fulfilled the same purpose for multi-gun batteries.

Cupola on the International Space Station (ISS), outside & in.  Cupolas are used on space craft because they are a way of maximizing the window space for a certain amount of the hull’s surface area.

McMansion with turrets and cupola.

Although the moment seems to have passed, one recent trend in domestic architecture which really disturbed the arbiters of style was the proliferation in parts of the US of McMansions, huge houses of sometimes dubious build quality often in a confusion of architectural styles and adorned with balconies, turrets, columns and cupolas, the more the better.

Bugeye & Frogeye

Bugeye (pronounced buhg-ahy)

(1) A nautical term for a ketch-rigged sailing vessel used on Chesapeake Bay.

(2) A slang term, unrelated to the nautical use, used to describe objects or creatures with the bulging eyes resembling those of certain bugs.

1883: An Americanism, the construct being bug + eye, coined to describe the 1880s practice of shipwrights painting a large eye on each bow of the ketches used for oyster dredging in Chesapeake Bay, an estuary in the US states of Maryland and Virginia.  Bug dates from 1615–1625 and the original use was to describe insects, apparently as a variant of the earlier bugge (beetle), thought to be an alteration of the Middle English budde, from the Old English -budda (beetle) but etymologists are divided on whether the phrase “bug off” (please leave) is related to the undesired presence of insects or was of a distinct origin.  Although “unbug” makes structural sense (ie remove a bug, as opposed to the sense of “debug”), it doesn’t exist whereas forms such as the adjectives unbugged (not bugged) and unbuggable (not able to be bugged) are regarded as standard.  Eye pre-dates 900 and was from the Middle English eie, yë, eighe, eyghe, yȝe, eyȝe & ie, from the Old English ēge, a variant of ēage, from the Proto-West Germanic augā, from the Proto-Germanic augô (eye).  It was cognate with the German Auge & the Icelandic auga and akin to the Latin oculus (eye), the Lithuanian akìs (eye), the Slavic (Polish) oko (eye), the Old Church Slavonic око (oko) (eye), the Albanian sy (eye), the Ancient Greek ὄψ (óps) (in poetic use, “eye; face”) & ὄσσε (ósse) (eyes), the Armenian ակն (akn), the Avestan aši (eyes) and the Sanskrit अक्षि (ákṣi).  A related Modern English form is “ogle”.  Bugeye is a noun and bugeyed is an adjective; the noun plural is bugeyes.  Hyphenated use of all forms is common. 

Frogeye (pronounced frog-ahy or frawg-ahy)

(1) In botany, a small, whitish leaf spot with a narrow barker border, produced by certain fungi.

(2) A plant disease so characterized.

(3) A slang term, unrelated to the botanical use, used to describe objects or creatures with the bulging eyes resembling those of frogs.

1914–15: A descriptive general term, the construct being frog + eye, for the condition Botryosphaeria obtusa, a plant pathogen that causes Frogeye leaf spot, black rot and cankers on many plant species.  The fungus was first described by in 1832 as Sphaeria obtusa, refined as Physalospora obtusa in 1892 while the final classification was defined in 1964.  Frog (any of a class of small tailless amphibians of the family Ranidae (order Anura) which typically move by hopping and in zoology often referred to as “true frog” because in general use “frog” is used loosely or visually similar creatures) pre-dates 1000 and was from the Middle English frogge, from the Old English frogga, from the Proto-West Germanic froggō (frog).  It was cognate with the Norwegian Nynorsk fraug (frog) and Old Norse frauki and there may be links with the Saterland Frisian Poage (frog) and the German Low German Pogg & Pogge (frog).  The alternative forms in English (some still in regional use at least as late as the mid-seventeenth century were frosk, frosh & frock.  Eye pre-dates 900 and was from the Middle English eie, yë, eighe, eyghe, yȝe, eyȝe & ie, from the Old English ēge, a variant of ēage, from the Proto-West Germanic augā, from the Proto-Germanic augô (eye).  It was cognate with the German Auge & the Icelandic auga and akin to the Latin oculus (eye), the Lithuanian akìs (eye), the Slavic (Polish) oko (eye), the Old Church Slavonic око (oko) (eye), the Albanian sy (eye), the Ancient Greek ὄψ (óps) (in poetic use, “eye; face”) & ὄσσε (ósse) (eyes), the Armenian ակն (akn), the Avestan aši (eyes) and the Sanskrit अक्षि (ákṣi).  A related Modern English form is “ogle”.  Frogeye is a noun and frogeyed is an adjective; the noun plural is frogeyes.  Hyphenated use of all forms is common.

Bugeye or frogeye: The Austin-Healey Sprite

1960 Austin-Healey Sprite (left) & 1972 MG Midget (right).

The Austin-Healey Sprite was produced between 1958 and 1971 (although in the last year of production they were badged as the Austin Sprite, reflecting the end of the twenty year contract with Donald Healey's (1898–1988) eponymous company).  Beginning in 1961, the car was restyled and a more conventional frontal appearance was adopted, shared with the almost identical MG Midget, introduced as at the same time as a corporate companion and the Midget outlived the Sprite, the last built in 1980.  Upon release, the Sprite immediately picked up the nicknames frogeye (UK & most of the Commonwealth) and bugeye (North America) because the headlights were mounted as protuberances atop the hood (bonnet), bearing a resemblance to the eyes of some frogs and bugs.  The original design included retractable headlights but to reduce both cost and weight, fixed-lights were used.  As purely functional mountings, such things continue to be fitted to rally-cars.  The linguistic quirk that saw the Sprite nicknamed bugeye in North America and frogeye in most of the rest of the English-speaking world is a mystery.  Etymologists have noted the prior US use of bugeye as a nautical term but it was both geographically and demographically specific and that use, visually, was hardly analogous with the Sprite.  No other explanation has been offered; the English language is like that.

1963 Lightburn Zeta (left) 1964 Lightburn Zeta Sports (centre) & Lightburn Zeta Sports with "sports lights" (right).  Not everything in the 1960s was groovy. 

1949 Crosley Hotshot.

Although distinctive, the look wasn’t new, familiar from the use of the Triumph TR2 (1952) and Crosley in the US had used a similar arrangement for their "Hotshot" & "Super Sport" (1949-1952 and notable for being fitted with four-wheel disk brakes although heey didn't work very well) and in Australia, Lightburn (previously noted for their well-regarded washing machines and cement mixers) were in 1964 forced to adopt them for the woeful Zeta Sports to meet headlight-height regulations.  The Zeta Sports was better looking than the Trabant-like "two-door sedan" which preceded it but truly that is damning with faint praise.  An adaptation (development seems not the appropriate word) of the Meadows Frisky microcar of the mid-1950s, the Zeta Sports was built in South Australia and initially it wasn't realized headlight-height rules in New South Wales (NSW) were such that the low-slung Zeta couldn't comply, even were the suspension to be raised, an expedient MG was compelled to use in 1974 to ensure the bumpers of the Midget & MGB sat at the height specified in new US rules.  Instead "sports lights" were added to the bonnet (hood) which lent more more cartoon-like absurdity to the thing but did little to increase its appeal, only a few dozen built in the two years it was available.

1959 Alfa Romeo Giulietta Sprint Speciale, Tipo (type) 101.20. 

Ungainly the bugeye lights may have been but they were a potentially handy addition given the original headlights doubled as bumper bars.  That seems a silly idea and it is but it wasn't unique to the Zeta and some examples had exquisite (if vulnerable) coachwork, such as the early (low-nose) versions of the much-admired Alfa Romeo Giulietta SS (Sprint Speciale, Tipo (type) 101.20; 1957-1962).  It was only the first 101 cars which were produced in lightweight, bumper-bar less form, that run to fulfil the FIA's homologation rules which demanded a minimum of 100 identical examples to establish eligibility in certain classes of production-car racing.

Lindsay Lohan in "bugeye" sunglasses, the look made popular by Jacqueline Kennedy (1929-1994; US First Lady 1961-1963). 

So aerodynamically efficient (the drag coefficient (CD) a reputed .28) was Carrozzeria Bertone's design that although using only a 1290 cm³ (79 cubic inch) engine with barely 100 hp (75 kW), the SS could achieve an even now impressive 200 km/h (124 mph).  Fitted with a 498 cm³ engine which yielded 21 hp (15.5 kW), the Zeta Sedan thankfully wasn't that fast but did feature a four speed manual gearbox with no reverse gear; to reverse a Zeta, the ignition key was turned the opposite direction so the crankshaft turned the other way.  All four gears remained available so top speed in reverse would presumably have been about the same as going forward but, as Chrysler discovered during the testing for the doomed Airflow (1934-1937), given the vagaries of aerodynamics, it may even have been faster, something which certainly may have been true of the Sports, (at least with the soft top erected) given the additional drag induced by the bugeye lights.  This was never subject to a practical test because unlike the sedan, the diminutive roadster had a reverse gear.  

The class-winning Austin-Healey Sprite, Coupe des Alpes rally, 1958.  With its goofy bugeyes and "grinning grill", the Sprite was often anthropomorphized.  It was part of the little machine's charm and, cheap to run and easy to tune, Sprites were for decades a mainstay of entry-level motorsport and still appear in historic categories.  For years they were cheap so predictably were repowered by more powerful engines including V8s, the transplantation of which could be challenging, as was the subsequent driving experience.

An Italian Bugeye: Pininfarina's Ferrari 330 GTC Speciale

1968 Ferrari 330 GTC.

Introduced at the 1966 Geneva Auto Show, the 330 GTC was an important model for Ferrari and something of a watershed, the model defining the template which would be used for a succession of grand touring models which profitably could be manufactured and sold in volumes which, by Ferrari’s historic standards, constituted mass-production.  Between 1966-1968 597 were built (the of-quoted 598 said to be a double-counting of one chassis number), buyers attracted not only by the style but also creature comforts like air-conditioning and electric windows.  Additionally, there had been refinements to extend the appeal beyond those drawn to the faster but more raucous sports cars, independent rear suspension meaning the ride was softer and the attention paid to NVH (noise, vibration and harshness although the acronym wasn’t then in use in Italy where all three qualities still had a following) meant merely the thing was less tiring (noise is a source of stress); the 330 GTC was said to be the first Ferrari in which the radio genuinely was usable.  Styled by Pininfarina, taking cues from the 500 Superfast (1964-1966) at the front and the 275 GTS (1964-1966) to the rear, it shared the 2,400 mm (94½ inch) wheelbase of the 275 GTB (1964-1968).  A lovely, elegant shape which aged well, it wouldn’t seem to need enhancement but Pininfarina did just that, using the 330 GTC as a test-bed for a number of design studies, some of the details almost imperceptible and some obvious.

1964 Ferrari 330 GT 2+2 (left) and 1967 Ferrari 365 California Spyder (right). 

Of the latter, the most obvious was the addition of a pair of Supervis (super vision) driving lights in retractable housings, as used on the Ferrari 365 California Spyder (1966-1967).  By the mid 1960s, integrated quad headlights had for a decade been a part of mainstream design but their appearance on a Ferrari  had not met with universal praise, the 330 GT 2+2 (1964-1967) produced for its first two seasons with four but reverting to what was judged a more aesthetically accomplished pair for the rest of its run.  Speeds however were rising and the networks of European roads designed for high speed cruising rapidly were being extended and the need for better headlights was acknowledged.  Soon, technology would provide that but in the short term the solution was to add another pair and the retractable units on the Superfast were a way to do that without compromising the marque’s recognizable design language.  It was only on the Superfast the Supervis lights were standard equipment and they appeared on only two of the four 330 GTC Speciales along with a handful of regular production 330 GTC (fitted upon customer request, most sources suggest only three took up the option) and the clearly limited demand, coupled with the labor-intensive installation process, dissuaded Ferrari from extending availability as early as 1965 they appear to have vanished from the option list.  Not until compelled by US regulators a half-decade later would the factory return to retractable headlights, by then in a symmetrical quad.

Ferrari 330 GTC Speciale (serial number 8727, Pininfarina construction number CO 004, left) and in bug-eye mode (right).  This does hint why rarely are the the 365 California Spyders photographed with headlights raised. 

The brace of Supervis on chassis 8727 had a history.  Sometime prior to 1988 the front of the car had been damaged and when repairs were effected, the bug-eye lights simply were removed, the suddenly gaping apertures covered with a plug from sheet aluminium; once painted, the nose again resembled that of the standard 330 GTC the car had once been.  It was only during a later restoration the plugs were discovered and information was sought from Pininfarina which provided details of the history.  Obviously the rotating mechanisms were no longer available so those on one of the 14 365 California Spyders were removed and disassembled, allowing every part exactly to be duplicated, a process as expensive as it sounds and, adding to the cost, it was necessary to fabricate a new nose-cone because the existing metal surrounding the plugs had become too fragile to support the weight.

Skinnytoker Trindalyn Mackenzie skinnysplaining that "skinny isn't owned, it's rented".

The bug-eye look was adopted by the skinnytokers (the skinnytok community said to be "the acceptable pro ana") because the exaggerated size of the frames and lens creates the visual illusion of making the face appear thinner although Trindalyn Mackenzie seems anyway splendidly slender.  

A French bugeye: The Matra 530SX

Matra’s 1967 advertising copy for the last of the Sports Jets (left) and a 530 (right).

René Bonnet (1904–1983) was a self-taught French designer and engineer who joined the long list of those unable to resist the lure of building a car bearing his name.  It ended badly but his venture does enjoy a place in history because briefly he produced the first mid-engined road cars offered for general sale, some four years after the configuration had in Formula One racing begun to exert a dominance which endures to this day.  His diminutive sports car (marketed variously as René Bonnet Djet, Matra-Bonnet Djet, Matra Sports Djet & Matra Sports Jet) were produced by his company between 1962-1964 and by Matra for a further two years, the French manufacturer taking over the concern when Bonnet was unable to pay for the components earlier supplied.  While Matra continued production of the Djet, it used the underpinnings for a much revised model which would in 1967 emerge as the Matra 530.

Matra R.530 surface to air missile (1962, left) and René Bonnet Missile (1959-1962).

It was only force of circumstances which would lead Matra to producing the Djet.  As Bonnet’s largest creditor when the bills grew beyond his capacity to pay, the accountants worked out the only hope of recovering their stake was to take the equity and continue the operation.  Although asset-stripping wasn’t then the thing it would later become, there’s nothing to suggest this was contemplated and the feeling was the superior administrative capacity of Matra would allow things to be run in a more business-like manner although there was genuine interest in the workforce’s skills with the then still novel fibreglass.  However, although Djet production resumed under new management, Bonnet’s other offerings such as the Missile (1959-1962) were retired.  The missile, a small, front-wheel drive (FWD) convertible was a tourer in the pre-war vein rather than a sports car but while the idea probably had potential, the price was high, the performance lethargic and the styling quirky even by French standards.  In looks, it had much in common with the contemporary Daimler SP250 including the tailfins and catfish-like nose but while the British roadster was genuinely a high-high performance (if flawed) sports car, the missile did not live up to its name; under the hood (bonnet) sat small (some sub 1000 cm³) four cylinder engines rather than the Daimler’s sonorous V8.  One influence did however carry over: Matra named the 530 after one of their other products: the R.530 surface to air missile which had entered service in 1962 after a five year development.

Vis-à-vis: Matra 530: The LX (left) and the SX (right).

Using three-numeral numbers for car names is not unusual but usually the reference is to engine capacity (in the metric world a 280 being 2.8 litres, a 350, 3.5 litres etc while in imperial terms 350, 427 et al stood as an indication of the displacement in cubic inches).  Buick proved a contrarian, their 445 V8 gaining the name from its torque rating and the company used 225 in honor of the impressive 225 inch (5.7 m) length of the the 1959 Electra (Jayne Mansfield (1933–1967) died in a 225), sticking to to it for years even as the thing grew and shrunk and there have been many three-digit numbers which indicated a model's place in the hierarchy, the choice sometimes seemingly arbitrary.  Porsche in 1963 thought 901 was innocuous but Peugeot objected, claiming an exclusive right (for cars sold in France) to the use of three digit numbers with a central "0".  At that point Mercedes-Benz had in France been for a decade been selling the 300 and were about to release the 600 so it seemed an ambitious claim but, given the advice the case would be heard in a French court (which meant the French would win), Porsche renamed the thing 911 and the rest is history.  The "Letter Series" Chrysler 300 gained the name from its industry-leading 300 horse power, 331 cubic inch (5.4 litre) V8 and such was the reputation the thing soon established that even though over the following eleven years displacement and power both rose, the "300" model designation was retained, the allure so strong there was a twenty-first century revival.  Even now, 300 sounds an impressive number if linked to horsepower while the "110" used by both Austin and Wolseley doesn't stir the imagination, even though it denoted a useful 11% jump in horsepower from the previous 99.  The three-dozen odd models of the French Monica (1971-1975) were all called "560" because although Chrysler invoiced the company for "340 cid" (cubic inch displacement) V8s, to have called it the 340 would have baffled many in Europe for whom inches were mysterious so 560 it was, a familiar allusion to its 5.6 litres.  Unfortunately, after the ripples of the first oil shock washed over Europe after 1973, engines of that size become suddenly unfashionable and Monica was doomed along with most of the once lucrative trans-Atlantic ecosystem.  

1971 Chrysler (Australia) VG Valiant Regal 770 Hardtop.

Perhaps because 220, 440, 330 and such can be multiples of amicable numbers (and thus possess a beauty for mathematicians), they seem to have been used as model designations unrelated to the three numeral string’s usual function of (usually with some rounding up or down) indicating engine displacement (Kawasaki 440=440 cm3; Mercedes-Benz 220=2.2 litres; Oldsmobile 330=330 cid etc). AMC (American Motor Corporation) had the most complete sequence, using 220, 330, 440, 550, 660, 770, 880 & 990 to tag a model’s place in the hierarchy and in Australia Chrysler used 660 and 770 for their blinged-up Hillman Hunter and Valiant respectively; they also called the Hunter a “Royal” in case 660 was too abstract for the colonials. There, Ford's Mark 1 Cortina was sold as a 220 (the so-called "poverty" model which was a two-door without even a standard heater so it could be advertised at the lowest possible price) & 440 (the better equipped four-door version).  When a two door version with the 440 equipment levels was released, in stead of 330 it was called 240. 550 is also a footnote because the Mercedes-Benz R230 (2001-2011) was unusual because of the quirk of the SL 550 (2006-2011), a designation used exclusively in the North American market, the RoW (rest of the world) cars retaining the SL 500 badge even though both used the 5.5 litre (333 cubic inch) V8 (M273).

Nor is a link with the materiel of the military unusual, the names of warships have been borrowed and Chevrolet used Corvette as a deliberate allusion to speed and agility but an air-to-air missile was an unusual source although Dodge did once display a Sidewinder show car.  Eventually the Corvette did live up to its name although the humble Triumph Spitfire was a far cry from the fighter aircraft which became famous in the Battle of Britain (1940).  At the time though, it wasn't the Matra's name which attracted most comment.  There have been quite a few French cars which looked weirder than the 530 but the small, mid-engined sports car was visually strange enough although, almost sixty years on, it has aged rather well and the appearance would by most plausibly be accepted as something decades younger.  The automotive venture wasn’t a risk for Matra because it was a large and diversified industrial conglomerate with profitable interests in transport, telecommunications, aerospace and of course defence (missiles, cluster-bombs, rockets and all that).  As things transpired, the automotive division would for a while prove a valuable prestige project, the participation in motorsport yielding a Formula One Constructors’ Championship and three back-to-back victories in the Le Mans 24 hour endurance classic.

Matra 530: The LX (left) and the SX (right).

The road-car business however proved challenging and Matra never became a major player.  Although the British and Italians would prove there was a market for small, economical sports cars, buyers seemed mostly to prefer more traditionally engineered roadsters which were ruggedly handsome rather than delicately avant-garde.  Although as a niche model in a niche market, the volumes were never high, the 530 was subject to constant development and in 1970 the 530LX was released, distinguished by detail changes and some mechanical improvements.  Most distinctive however was next year’s 530SX, an exercise in “de-contenting” (producing what the US industry used to call a “stripper”) so it could be offered at a lower price point, advertised at 19,000 Fr against the 22,695 asked for the LX.  It was a linguistic coincidence the SX label was later chosen for the lower price 386 & 486 CPUs (central processing unit) by the US-based Intel although they labeled their full-priced offerings DX.

Yuri Gagarin (1934–1968; Soviet pilot and cosmonaut and the first human to travel to “outer space”) with his 1965 Matra Djet (left), standing in front of the Покори́телям ко́смоса (Monumént Pokorítelyam kósmosa) (Monument to the Conquerors of Space), the titanium obelisk erected in 1964 to celebrate the USSR's pioneering achievements in space exploration.  The structure stands 351 feet (107 metres) tall and assumes an incline of 77° which is a bit of artistic licence because the rockets were launched in a vertical path but it was a good decision however because it lent the monument a greater sense of drama.  Underneath the obelisk sits the Музей космонавтики (Memorial Museum of Cosmonautics (known also as the Memorial Museum of Astronautics or Memorial Museum of Space Exploration)) and in the way which was typical of projects in the Brezhnev-era (Leonid Brezhnev (1906–1982; Soviet leader 1964-1982) USSR, although construction was begun in 1964, it wasn't until 1981 the museum opened to the public.  In the Soviet Union, while it was common for projects to be delayed for years, they were usually described as "ahead of schedule". 

The reduction in the cost of production of the SX was achieved in the usual way: remove whatever expensive stuff can be removed.  Thus (1) the retractable headlights were replaced with four fixed “bugeyes”, a single engine air vent was fitted instead of the LX’s four, (3) the rear seat and carpet were deleted, (4) the front seats were non-adjustable, (5) the trimmed dashboard was replaced by one in brushed aluminium (which was much-praised), the removable targa panels in the roof were substituted with a solid panel and, (7) metal parts like bumpers and the grille were painted matte black rather than being chromed.  In the the spirit of the ancien regime, the Frensh adopted the nicknames La Matra de Seigneur (the Matra of a Lord) for the LX & La Matra Pirate (the Matra of a pirate) for the SX.

Who wore the bugeye best?  Austin-Healey Sprite (1958, left), Lightburn Zeta Sports (1964, centre) and Matra 530SX (1971, right).

The SX did little to boost sales and even in 1972 which proved the 530’s most prolific year with 2159 produced, buyers still preferred the more expensive model by 1299 to 860.  Between 1967-1973, only 9609 530s were made: 3732 of the early models, 4731 of the LX and 1146 of the bugeyed SX and, innovative, influential and intriguing as it and the Djet were, it was a failure compared with something unadventurous like the MGB (1963-1980), over a half-million of which were delivered.  One 530 however remains especially memorable, a harlequinesque 1968 model painted by French artist Sonia Delaunay (1885–1979), a founder of the school of Orphism (a fork of Cubism which usually is described as an exercise in pure abstraction rendered in vivid colors).  The work was commissioned by Matra's CEO Jean-Luc Lagardère (1928–2003) for a charity auction and still is sometimes displayed in galleries.  In 2003, after some thirty years of co-production with larger manufacturers, Matra’s automotive division was declared bankrupt and liquidated.

Talisman

Talisman (pronounced tal-is-muhn or tal-iz-muhn)

(1) A stone, ring, or other object, usually engraved with figures or characters supposed to possess occult powers and worn as an amulet or charm; believed to protect the wearer from evil influences

(2) Any amulet or charm.

(3) Anything or anyone, the presence of which exercises a remarkable or powerful influence on human feelings or actions.

(4) A trim option offered on the Cadillac Fleetwood (1974-1976).

1630–1640: From the French or Spanish talisman, partly from Arabic طِلَسْم‎ (ṭilasm), from the Late Greek télesmon (completion, performance, consecrated object), and partly directly from the Byzantine Greek τέλεσμα (télesma) (talisman, religious rite, completion), from τελέω (teléō), (to perform religious rites, to complete), from τέλος (télos) (end, fulfillment, accomplishment, consummation, completion”).  The Arabic word was also borrowed by Turkish, Persian & Hindi and the only explanation for the -n in western European languages is replicated error.  Derived forms are the adjectives talismanic & talismanical and the adverb talismanically.  Talisman is a noun & verb, talismaning & talismaned are verbs, talismanic is an adjective and talismanically is an adverb; the noun plural is talismans (talismen is non-standard).  Talismanique is a French and not an English adjective.

Lindsay Lohan wearing (non-Masonic) Evil Eye talisman, Los Angeles, March 2011.

The Evil Eye is a talisman (or amulet), or talisman which is said to afford the wearer protection against the forces of evil.  Examples of Evil Eye talismans have for some three-thousand years existed in many cultures and are documented in early examples of the art of Judaism, Islam, Hinduism, Buddhism and Christianity, the forms including the Hebrew Ayin Ha’ra, the Turkish Nazar Boncugu, the Italian Mal Occhio, the Farsi Bla Band, the Arabic Ayin Harsha, the Scots Droch Shuil, the Spanish Mal Ojo (or El Oja), the French Mauvais Oeil, the German Busen Blick and the Roman Oculus Malus.  The imagery is particularly ingrained in the Republic of Türkiye where the symbolism is visible on symbol on currency, in architecture and interior design, one often hung from the necks of new-born children and even farm animals.

Freemason Evil Eye talisman.

Also known as the “Eye of Providence”, the symbol is not only part of Masonic ritualism but it appears on both the reverse of the US dollar bill (in a pyramid’s top cap) and the nation’s Great Seal.  Although many of the founding fathers of the US were confessed Freemasons, the official line is the unfinished pyramid was intended to symbolise “strength and duration”, with the 13 levels representing the original states which formed the US while the eye was there to acknowledge God’s sympathetic oversight of the fledgling nation.  It’s claimed the Freemasons had no involvement in these choices and that the cult didn’t begin publicly to display the evil eye until well into the eighteenth century.  Whether prior to that they used it in secret is of course unknown except to them and also a mystery is whether every member of the Secret Society of the Les Clefs d’Or is required to wear a concealed Masonic talisman.  It’s never been denied and unless there’s a defection, that too may remain a secret.

The Cadillac Fleetwood Talisman, 1974-1976

1974 Cadillac Fleetwood Talisman in Sable Black over Dark Blue Medici Cloth.

Even by the standards of the American automobile of the time, the 1971 Cadillac was big.  Replacing the previous range which had run from 1965-1970, engineering innovations were limited and the changes mostly cosmetic, much of the manufacturer’s attentions now devoted to conforming with the onrush of safety and pollution control legislation being imposed by governments (the Californian authorities, cognizant of the conditions (climatic & social) which made pollution in Los Angeles and San Francisco a particular concern, becoming more rigorous than Washington DC or the other 49 states).  In 1971 however, although somewhat detuned, the 472 cubic inch (7.7 litre) V8 was still rated at 365 gross horsepower and, with the emission controls still only rudimentary, retained the characteristics which by the early 1960s had meant Detroit’s full-sized were acknowledged to have the world’s most refined engine-transmission combinations.  Even though typically weighing over 5000 lbs (2300 kg) and built with few concessions to aerodynamic efficiency, 1971 Cadillacs had power enough for performance to be described usually as "effortless".

1974 Cadillac Fleetwood Talisman in Cotillion White over Dark Blue Medici Cloth.

Production volumes dropped in 1971 but that was because of difficulties in industrial relations and once new agreements were in place, sales quickly rebounded, records set in 1972 and again in 1973, Cadillac for the first time, producing more than 300,000 cars.  There were however warning signs on the 1973 cars.  Although not yet the battering-rams later bolted on, the bumper bars had grown bigger and heavier and, for the first time, the emission controls began to be noticed, becoming intrusive by 1974, drivability suffering, power down and fuel consumption up.  The typical Cadillac owner might not have been much troubled by the gas (petrol) bill but they certainly noted, and complained about, the loss of power and occasionally stuttering engines; much worse was to come.  1973 would be the last good year for the “old” American economy which, sustained by the unusual circumstances of the post-war boom had, with the odd minor glitch, maintained an unprecedented general prosperity for over twenty years.  A generation now existed which knew no other world but the world shifted on 17 October 1973 when OAPEC (the Organization of Arab Petroleum Exporting Countries) imposed the first oil embargo, ending the boom which had been fed by cheap, limitless energy.  Suddenly, in the US, not only was gas more expensive, the cost of a barrel of oil having quadrupled overnight, but there were, at least briefly, genuine shortages.  Even Cadillac owners with money enough to pay for a tank of gas found themselves in long queues, sometimes not able to find any for sale.

1972 Oldsmobile Ninety-Eight Regency front compartment in Black.

It was a short, sharp shock; oil supplies within months began again to flow but prices remained high.  Cadillac sales fell twenty-odd percent in 1974 but it was actually a good result, the company continuing to dominate its market sector, its performance better than many.  The performance of the cars was less impressive, the bumpers ever bigger, the power lower and the driveability issues caused by the emission control devices worse.  At the time, there wasn’t much Cadillac could (or was prepared) to do about these things but resources were found to add even more luxury.  For years, the industry had been creating ever fancier versions of its lines, even the lower-priced being augmented with luxury versions, sometimes called “Brougham”, a phenomenon which the website Curbside Classic dubbed "the great brougham era" and date from Ford's 1965 introduction of the "LTD" option for the Galaxie: to that Chevrolet responded with the Caprice and the bling race had begun.  Neither of those modest tart-up jobs troubled the thoughts of the Cadillac board but, although domestically, Cadillac had long faced competition from Lincoln and Imperial, what must have been galling in the milieu of the great brougham era was the threat which later emerged from within.  Oldsmobile, two notches down the General Motors (GM) pecking list from Cadillac, in 1972 introduced a special "anniversary" version of their top-of-the-range Ninety-Eight four-door hardtop, the package including not just tufted velour upholstery but finished it in the "loose pillow" style beloved by interior decorators.  In the Oldsmobile, the "pillows" were fixed rather than loose but the look was there. 

Regency at Tiffany's: Publicity shot for 1972 Oldsmobile Ninety-Eight Regency.  All the "anniversary" Regency models were four-door hardtops in a specially mixed shade of gold with the choice of a "Black" or "Covet Gold" velor interior.  In 1971-1976, the full-size Oldsmobiles and Cadillacs were all built on GM's shared C-Body platform, differing in external panels, internal trim, engines and detailing.  At a distance, many would have found it difficult to tell C-Body Oldsmobile from a Cadillac.  

By 1972, there were so many “Broughams” on the market Oldsmobile must have thought the tag was becoming a bit common so to mark the company’s 75^th anniversary, they called their new creation the “Regency”.  Vague as many Americans might have been about the origin of “brougham”, most probably assumed “regency” had something to do with royalty so as an associative pointer it was good.  The Ninety-Eight Regency in 1972 was however as audacious as the LTD had half-a-decade earlier been tentative because it was beyond Cadillacesque in its aspirations; nothing in Cadillac’s showrooms could match the conspicuous opulence of the Regency’s black or gold, “pillow effect”, tufted velour upholstery.  A run of 2,650 Ninety-Eight Regency cars was built and they were so well-received a (non-anniversary) model was in 1973 added to the range as a regular production model.  By 1982, Oldsmobile must have concluded the message needed again to be drummed into buyers so they introduced the Regency Brougham.

1974 Cadillac Fleetwood Talisman rear compartment in Dark Blue Medici Cloth with optional pillows.  The pillows (which many would have described as "cushions") were also available on the Talismans trimmed in leather.  The world should have more leather pillows.

The Regency package was a US$372 option for the Ninety-Eight which had a base price of US$5097.60.  In Cadillac’s boardroom, as the brochure was passed around the table, it must have seemed act of impertinence and one which GM’s management once would not have tolerated.  The so-called “Sloan ladder of success” was conceived by Alfred P Sloan (1875–1966; president of General Motors (GM) 1923-1937 and chairman of the board 1937-1946)) and the idea was that as a customer’s wealth increased, they would take the “next step on the ladder”; by 1930 that ladder had nine rungs with Chevrolet at the bottom and Cadillac the top.  That meant the “middle class” had seven GM brands to choose from, all positioned at ascending “price points” and what this meant was a customer could advertise their increasing wealth and upward social mobility by moving up a rung, trading in their car for one a rung (or more) up in the hierarchy.  For the system to work, it was important the products of one division not trespass into the bailiwick of another and in Mr Sloan's time this discipline was maintained.

Of course, while one can climb a ladder, one can also climb down and a former Cadillac buyer finding themselves in circumstances so reduced as to have to visit the Chevrolet dealer might have been said to be on the “Sloan ladder of failure”.  Nor was it socially obligatory for the rich to ascend to the top rung.  Before her first husband became president, Jacqueline Kennedy (1929-1994; US First Lady 1961-1963) went to old Joe Kennedy (1888–1969) and told him she’d like to buy a Ford Thunderbird on the basis: “What could be More American than that?”  Promptly she was told: “The Kennedys drive Buicks!”  Actually even that wasn’t always true because the car Ted Kennedy (1932–2009) drove off a bridge in the “Chappaquiddick Incident” was a 1967 Oldsmobile Delmont 88 (not even the most expensive Oldsmobile) which belonged to his mother.  The crash happened shortly before midnight on 18 July 1969, after the then senator had left a cocktail party in the company of Mary Jo Kopechne (1940-1969) who had worked on Robert F Kennedy’s (RFK, 1925–1968; US attorney general 1961-1964) presidential campaign in 1968.  Ms Kopechne died in the crash, Senator Kennedy not reporting the matter for more than ten hours after he left the scene.  The ladder was fully evolved by 1929, the rungs tagged thus:

Chevrolet: The entry-level range with the lowest price; a high volume “value for money” pitch using the concept perfected by Ford's Model T (1908-1927).

Pontiac: Introduced in 1926, the Pontiac would once perhaps have been called the “Chevrolet Deluxe” but it was in the 1920s the ages of mass-consumerism and modern marketing began; the creation of a separate nameplate was an indication of how the techniques of capitalism were evolving.

Oldsmobile: Before the brand-name proliferation, Oldsmobile was GM’s classic “middle-class” car, sitting between Chevrolet and Buick.

Marquette: Marquette existed only between 1929–1930 and was a product of a gap existing in Mr Sloan’s price-point structure between Oldsmobile and Buick.  Again, the view was it was better to have a defined range in the segment rather than an “Oldsmobile Deluxe” or dilute the appeal of the next rung with a lower-cost Buick.

Oakland: Oakland was unusual in that it pre-existed Pontiac, the latter introduced as Oakland’s more expensive companion but, because Pontiac proved much more successful, it would survive the later cull while Oakland would be axed.

Buick: The classic upper-middle-class brand, offering luxury and performance but without the exclusivity of a Cadillac.

Viking: Another short-lived (1929–1930) venture, Viking was the premium companion to Oldsmobile and slotted between Buick and LaSalle.

LaSalle: Best thought of as cheaper Cadillac, it was another of the brands there to avoid diluting things with an “entry level Cadillac” which of course it was in all but name.

Cadillac: The top rung, competing not only high-end domestic brands like Packard, Duesenberg and Lincoln but also the best of the Europeans.

The effects of the Great Depression meant the experiment didn’t last and GM would soon to revert to six divisions, the newcomers Viking and Marquette axed while Pontiac, which had proved both more successful and profitable than the shuttered Oakland, survived, joining LaSalle which lingered until 1940 and then there were five.  Even then five was debatably at least one too many but the ladder survived into the post-war years when economic conditions suited the structure and by the mid-1950s both Ford and Chrysler were emulating the model although for both it proved a brief fling.  By the twenty-first century, GM was down to three (Chevrolet, Buick & Cadillac), Ford two (Ford, Lincoln) and Chrysler two (Dodge, Chrysler (although they separated the pickup business as RAM)).

1974 Cadillac Fleetwood Talisman rear compartment in Medium Saddle leather.

Cadillac scrambled to respond to the implications of the Regency, offering in 1973 the d'Elegance package, a US$750 option which included a plusher interior and a bundle of otherwise optional features.  However, all the d'Elegance stuff did was match what others were doing and there was still the corporate memory of the Cadillac mystique, a hankering for the time when Cadillac had been the “standard of the world”, a reputation built in the 1930s on basic engineering such as 16-cylinder engines and maintained a generation later with cars such as the Eldorado Brougham, one time the term "Brougham" described something truly impressive.  By 1974 the world had changed and such extravagances were no longer commercially viable (in truth 400 Eldorado Broughams made for 1957 didn't make a profit either) but what could still be done was to add more "gingerbread" so for 1974, Cadillac announced the Talisman package (option code V4U).  Much more expensive than the d'Elegance and consequently that much more exclusive, the Talisman included an extended centre console, the front section housing an illumined writing tablet, the rear a storage compartment.  This had been done before but never with this opulence although it had the effect of reducing the huge car, a size which historically been a six-seater, into something strictly for four and as a marketing strategy, that made sense, indifference to practicality a signifier of wealth.  The interior was available in four colors in "Medici crushed velour" at US$1800 or in two shades in leather at US$2450 at a time when the Chevrolet Vega, GM’s entry-level sub-compact cost US$2087; "Medici crushed velour" had about the same relationship with history as Chrysler's "fine Corinthian leather".  The Talisman additionally gained matching deep-pile interior carpeting and floor-mats, a fully padded "elk grain" vinyl roof, exterior badge identifications, a stand-up, full-colour wreath & crest hood ornament and unique wheel-covers.  For those who needed more, for an additional US$85, a matching pillow and robe was available, the latter unfortunately not cut in leather.  Optioned with the leather package, a 1974 Cadillac Talisman cost about US$13,200, matching what the company charged for the even bigger Fleetwood 75 limousines.  The additional gingerbread wasn’t all that expensive to produce; what Cadillac was selling was exclusivity and the market responded, 1898 Talismans coming off the production line that year, all sold at a most impressive profit.  The interior trim choices in 1974 were:

510 Black Medici Cloth.
525 Dark Blue Medici Cloth.
546 Medium Amber Medici Cloth.
548 Dark Terra Cotta Medici Cloth.
565 Dark Blue Leather.
585 Medium Saddle Leather.

Most prized today are the relative handful trimmed in leather, the orthodoxy in the collector market that all were in Medium Saddle.  If any were sold with the Dark Blue leather, none appear now to exist and Cadillac’s records don’t list the production breakdown.

1975 Cadillac Fleetwood Talisman front compartment in Dark Rosewood Medici Cloth.

The leather option didn’t survive beyond the first season, four colors of velour the only Talisman choices in 1975 and gone too was the rear-console extension, reportedly because of feedback from dealers who noted the comments from customers expressing a preference for the flexibility to carry an additional passenger.  It was an era of high inflation so the deletion of the hardware secured only a two-dollar reduction in price and in the gloomy economic climate of 1975, sales dropped to 1238.  The big platform, which had seemed so appropriate a half-decade earlier, was in its last days, a dinosaur unable to adapt to the shock of a strange new environment but for its final fling there were minor improvements.  Although engine size had been increased to 500 cubic inches (8.2 litres), output was down to 190 horsepower (although this was less of a drop than it may appear from the 365 of 1971 because of the change in quoting power from gross to net) but the addition of catalytic convertors and, later in the year, fuel injection, did allow some retuning, improving drivability.  The bumpers were the biggest yet and fuel economy, although improved, remained dire.  The interior trim choices in 1975 were:

19B Black Medici Cloth.
29B Dark Blue Medici Cloth.
51B Medium Maize Medici Cloth.
79B Dark Rosewood Medici Cloth.

1976 Cadillac Fleetwood Talisman front compartment in Black Medici Cloth.

The end of the line came in 1976, the final year for the big Cadillacs which had evolved over three quarters of a century.  With so much corporate energy devoted to the new, smaller cars, on the dinosaurs changes were restricted mostly to trim and detailing although the newly-lawful rectangular headlights, adopted throughout the industry to permit lower hood (bonnet) lines and thereby (slightly) slipperier aerodynamics, were spliced in.  Inside, new interior colors were offered and simulated Rosewood replaced the equally fake distressed pecan vinyl appliqués on the instrument panel, doors, and rear quarter trim.  Inspired by the Oldsmobile Regency which had caused such a stir in 1972, soft, thickly pillowed seats were now standard and the d'Elegance package with its accoutrements could still be added but bowing out after 1976 would be both the 500 cubic inch V8 and the Talisman package, available for its swansong in five colors at US$1813.  GM made no secret this was the last year of the big Cadillacs and sales spiked, a new record of 309,139 cars of which 1200 were Talismans.  Befitting the funereal atmosphere, the interior trim choices in 1976 were restricted to somber black & blue:

19E Black Medici Cloth.
26E Dark Blue Medici Cloth.

1976 Cadillac Fleetwood Talisman.