Roadster

Roadster (pronounced rohd-ster)

(1) An early automobile having an open body, a single seat for two or three persons, and a large trunk or a rumble seat.

(2) A horse for riding or driving on the road (archaic).

(3) A two-seater, convertible sports car.

(4) A sea-going vessel riding at anchor in a road or bay.

(5) In coastal navigation, a clumsy vessel that works its way from one anchorage to another by means of the tides.

(6) A bicycle, or tricycle, adapted for common roads, rather than for the racing track, usually of classic style and steel-framed construction (archaic).

(7) Slang for one who drives much or one who lives along the road (UK (8) archaic).

(8) Slang for a hunter who keeps to the roads instead of following the hounds across country (archaic).

(9) The pre-modern class of racing car most associated with the classic era of the Indianapolis 500 (1952-1964).

1735–1745: A compound word, road + -ster.  Road was from the Middle English rode & rade (ride, journey) from the Old English rād (riding, hostile incursion) from the Proto-Germanic raidō (a ride), from the primitive Indo-European reydh (to ride). It was cognate with raid, a doublet acquired from the Scots, and the West Frisian reed (paved trail/road, driveway).  The –ster suffix is applied to someone (or something) associated with an act or characteristic, or does something specified.  It’s from the Middle English –ster & -estere from the Old English -estre (-ster, the feminine agent suffix), from the Proto-Germanic –istrijǭ &, -astrijǭ from the primitive Indo-European -is-ter- (suffix).  It was cognate with the Old High German -astria, the Middle Low German –ester and the Dutch -ster.  Roadster is a noun; the noun plural is roadsters.

Roadsters, gullwings and courtesans

1920 Stutz Bearcat, the classic American roadster of the early inter-war years.  Such was its allure, it was (apocryphally) claimed that should anyone die at the wheel of a Stutz Bearcat, they were granted an obituary in the New York Times (NYT).

In the United States of the mid-nineteenth century, a roadster was a horse suitable for travelling and by the early 1900s, the definition had expanded to include bicycles and tricycles.  In 1916, the US Society of Automobile Engineers (SAE) defined a roadster as "an open car seating two or three”, a meaning which endures to this day.  Despite the origins, use was patchy in the US with the word applied to vehicles as diverse as the front-engined USAC (Indy) racing cars of the 1950s, a variety of 1930s convertibles and the custom post-war creations otherwise known as hot-rods.

Two of the 1963 Kurtis Kraft Roadsters which ran at the 1963 Indianapolis 500.  Car 56 (Jim Hurtubise (1932–1989)) qualified 3^rd (150.257 mph (241.815 km/h)) but retired on lap 102 after suffering an oil leak.  Car 75 (Art Malone (1936–2013)) qualified 25^th (148.343 (238.735 km/h)) but retired on lap 18 with clutch failure.

Both Kurtis Kraft Roadsters used the supercharged, double overhead camshaft (DOHC) Novi V8 (167–183 cubic inch (2.7–3.0 litres)) which appeared on the Indy 500 grid between 1941-1966.  The Novi was famous for the howl it produced at full cry but it never achieved its potential because chassis and tyre technology didn’t advance to the point its prodigious power could successfully be handled, the adoption of an all-wheel-drive (AWD) platform (then still referred to as four-wheel-drive (4WD) which now is usually reserved for vehicles which claim some off-road capability) coming too late.  The Novi V8 and is sometimes compared to the 1.5 litre (91 cubic inch) BRM V16, another charismatic, supercharged, small displacement engine with a narrow power band.  The unusual fin on car 75 was an attempt to improve straight-line stability, an approach often used in the era before the implications of down-force fully were understood.

The Indy folklore is the adoption of the term “roadster” to describe the final era of the front-engined cars was the result of an act of subterfuge.  What defined the “Indy Roadster” was the engine and drive shaft being offset from the center-line of the car, something which allowed the driver to sit lower in the chassis thereby optimizing the weight distribution for use on (anti-clockwise) oval tracks.  It was in 1952 quite an innovation and the legend is that whenever there were visitors in their workshop, the Kurtis team covered the chassis with a tarpaulin and if asked, casually dismissed what lay beneath as “just our roadster” (then a common term for a “hot rod”, a hobby which became popular in the post-war years).  The name stuck when the car appeared, the design for a decade the dominant configuration in open-wheel oval racing although the writing was on the wall in 1961 when Jack Brabham (1926–2014) appeared at the brickyard in an under-powered mid-engined Cooper Climax which, although out-paced by the roadsters on the straights, posted competitive times because of its superior speed in the curves.  After that, the end of the roadster era came quickly and by 1965 one could manage to finish only as high as fifth, the last appearance at Indianapolis coming in 1968 when Jim Hurtubise’s Mallard retired after nine laps with a dropped piston (something as serious as it sounds).

1954 Jaguar XK120s: Roadster (open two-seater (OTS) in the UK and certain export markets; left) and Drop Head Coupé (DHC; right).  The roadsters were lighter and intended as dual-purpose vehicles which could be road-registered, driven to circuits and with relatively few changes be immediately competitive in racing.  The DHCs were based on the heavier, more luxuriously trimmed Fixed Head Coupé (FHC) coachwork while the roadsters featured cutaway doors without external handles or side windows and a removable windscreen.  Variations on this pre-war pattern was common in the British and parts of the European industry; even the early Chevrolet Corvettes were true roadsters.  

In pre-war Europe (though less so in the UK where “sports-car” or “open two seater” tended to be preferred), roadsters were often those with most rakish or flamboyant bodies, offered either by the factory or outside coachbuilders.  After the war, the term came to be restricted to what were once known as sports cars, the smaller, lighter and most overtly sporty of the line.  British manufacturers also distinguished, within a line of convertible two-seaters between lightweight roadsters and the more lavishly equipped drop-head coupés (DHC) which had features such a full-doors and side windows, neither always fitted to roadsters.  Interestingly, the early Jaguar XK120s and 140s (1949-1957) were marketed as open two-seaters (OTS) in UK and roadsters in the US, the home market not adopting the export nomenclature until the XK150 in 1958.

300 SL gullwing (1954-1957)

Although the public found them glamorous, the engineers at Mercedes-Benz had never been enamored by the 300 SL’s gullwing doors, regarding them a necessary compromise imposed by the high side-structure of the spaceframe which supported the body.  Indeed, the doors had never been intended for use on road-cars, appearing first on the original (W194) 300SL, ten of which were built to contest sports-car racing in 1952.  The W194 had a good season, the most famous victory a 1-2 finish in the 24 Heures du Mans (24 Hours of Le Mans) and this success, along with the exotic lines, attracted the interest of the factory’s US importer who guaranteed the sale of a thousand coupés, essentially underwriting the profitability of full-scale road-car production.  The sales predictions proved accurate and between 1954-1957, 1400 (W198) 300 SL gullwings were built, some eighty percent of which were delivered to North American buyers.  Curiously, at the time, Mercedes-Benz never publicly disclosed what the abbreviation "SL" stood for.  The assumption had long been it meant Sport Light (Sport Leicht), based presumably on the SSKL of 1929-1931 (Super Sport Kurz (short) Leicht) but the factory documentation for decades used both Sport Leicht and Super Leicht.  It was only in 2017 it published a 1952 paper discovered in the corporate archive confirming the correct name is Super Leicht.

300 SL Roadster (1957-1963)

 

That the sales reached the numbers hoped was good because the gullwing was expensive to produce and a certain volume was required to achieve profitability but by 1956, sales were falling.  At that time the US distributer was suggesting there was greater demand for a convertible so the decision was taken to replace the gullwing with a roadster, production of which began in 1957, lasting until 1963 by which time 1858 had been built.  Now with conventional front-hinged doors made possible by a re-design of the tubular frame, the opportunity was taken also to include some improvements, most notably a more powerful engine and the incorporation of low-pivot swing axles in the rear suspension.  The rear axle changes, lowering the pivot-point to 87mm (3.4 inches) below the differential centre-line did reduce the camber changes which could be extreme if cornering was undertaken in an inexpert manner but the tendency was never entirely overcome.  The swing axles, much criticized in later years, need to be understood in the context of their times, the tyres of the 1950s offering nothing like the grip of more modern rubber although it is remains regrettable the factory didn't, for its high-performance road cars, adopt the de Dion rear suspension it used on both road and competition cars during the 1930s.  Although manageable in expert hands, as the Mercedes-Benz Formula One drivers in 1954-1955 proved, the more predictable de Dion would likely have been better suited to most drivers on the roads.  In fairness, the gullwing’s rear suspension did behave better than many of the more primitive swing-axle systems used by other manufacturers but it needed to given that in any given situation, the Mercedes would likely be travelling a deal faster.  Remarkably, the Mercedes-Benz swing-axle arrangement lasted well into the age of the radial-ply tyre, in volume production until 1972 and used until 1981 on the handful of 600 Grossers built every year.

300 SLS (1957)

Less costly to build than the gullwing, a few hundred 300 SL roadsters were sold annually, the price tag reaching even higher in the stratospheric realm.  Unlike the lighter gullwing, the emphasis shifted from a dual-purpose vehicle suited to both road and track to one that was more of a grand-tourer.  The factory however managed to give the car one last fling at competition.  The SCCA (Sports Car Club of America), tired of the gullwing’s domination in the production sports car category, changed the rules to render it uncompetitive and, as the new roadster hadn’t yet achieved the volume needed to qualify for homologation, Mercedes-Benz built a new model: called the 300 SLS (Super Light Sport), two built to contest the SCCA’s modified production class.  Lighter, more powerful and with a few aerodynamic tweaks, the SLS won the trophy.

Job done, the factory withdrew from circuit racing although private teams would continue to campaign 300 SLs into the 1970s.  The road-going version continued with little visual change until 1963 although the engineering refinements continued as running changes, disk brakes adopted in 1961, the last few dozen built with a lighter aluminum engine block replacing the cast-iron casting.  When retired, it wasn’t replaced, the W113 (pagoda) and their successors (R107) roadsters a different interpretation of the genre.  It would be decades before Mercedes-Benz would again offer anything like the 300 SL.

190 SL (1955-1963)

The reception afforded the 300 SL prompted the US distributor to suggest a lower cost sports car would also be well-received.  The economics of that dictated the exotic features of the gullwing (dry-sump lubrication, the doors, fuel-injection) couldn’t be used so the factory instead grafted attractive roadster coachwork atop a shortened saloon car platform, the pedestrian four-cylinder engine barely more powerful than when found in its prosaic donor.  Still, the 190 SL (W121) looked the part and could be sold for well under half the price of a gullwing though even then it was hardly cheap, costing a third more than a Chevrolet Corvette and by then the Corvette had been transformed into a most estimable roadster with the addition of the new Chevrolet 265 cubic inch (4.3 litre) small-block V8.  Pleasingly profitable, nearly twenty-six thousand 190 SLs were built over an eight-year run beginning in 1955 and there were even plans for a 220 SL, using the 2.2 litre (134 cubic inch) straight-six from the “pontoon” saloon range (W120-121-105-128-180; 1953-1963) which had provided the roadster's platform.  Prototypes were built and testing confirmed they were production-ready but the continuing success of the 190 SL and capacity constraints first postponed and finally doomed the project.  After production ceased in 1962 (none were built in 1963 but the factory listed the final 104 cars as 1963 models), it wouldn’t be until the 1990s that the concept of a smaller roadster (the R170 SLK) to run alongside the (R129) SL was revived although, since the early 1970s, the SL (R107) had simultaneously been available with engines of different sizes and accordingly placed price-points.

190 SL Rennsport, Macau Grand Prix, 1957.

Though never designed with competition in mind, the factory did construct half a dozen higher-performance Rennsport (motor-racing) packages (referred to internally as the 190 SLR), the most important aspect of which was diet, the weight-reduction achieved with aluminium doors, a smaller Perspex windscreen and the deletion of non-essential items such as the soft top, sound insulation, the heater (they're surprisingly weighty devices) and bumpers.  Although never part of a major racing campaign, it did enjoy success including a class win in a sports car event at Morocco and victory in the 1957 Macau Grand Prix.

Last of the Adenauers: 300d (W189, 1957-1962) Cabriolet D (upper) & the "standard" 300d saloon (four-door hardtop).

Although some of its customers during the mid-twentieth-century (notably between 1933-1945) are understandably neglected in their otherwise comprehensive attention to history, Mercedes-Benz has always acknowledged and publicized the drivers and clients of the 1950s.  Their Formula One drivers (especially Juan Manuel Fangio (1911–1995) & Stirling Moss (1929–2020) were honored for decades after their retirements and Konrad Adenauer, the first chancellor of the Federal Republic, was even afforded the unique distinction of being the nickname for the 300 (W186 & W189, 1951-1962), the big limousine of the era which used a substantially similar engine to the 300 SL's unit.  Note that although the top image is of a convertible, it's a "cabriolet" and not a roadster.  According to Mercedes-Benz, a roadster is a two door, two seater convertible although, since the 1960s, the factory has sometimes offered the option of single (transverse) or conventional rear seat for occasional (and sometimes uncomfortable) use.  Small, these seats were really suitable only for very young children and no pretence was made that they make a roadster into a true four-seater, 2+2 the usual (generous) description.  Being Germans, during the 1930s, Daimler-Benz decided there were sufficient detail differences between the coachwork and hood (in the sense of folding roof) assemblies offered and formalized definitions of five distinct flavors of Mercedes-Benz cabriolets.

Fraulein Rosemarie Nitribitt with 190 SL and Joe der Hund.

However, in a fate shared with some of the most valued clients of the three-pointed star between 1933-1945, nor does the factory’s historic literature dwell on someone perhaps the 190SL’s best known owners, Rosemarie Nitribitt (1933-1957).  Fraulein Nitribitt was, by 1957, Frankfurt’s most illustrious (and reputedly most expensive) prostitute, a profession to which she seems to have been drawn by necessity but at which she proved more than proficient and, as the reports of the time attest, there was nothing furtive in the way she practiced her trade.  Something of a celebrity in Frankfurt, the republic’s financial centre, her black roadster became so associated with her business model that the 190SL was at the time often referred to as the “Nitribitt-Mercedes”, her car seen frequently, if briefly, parked in the forecourts of the city’s better hotels.  Unlike the contemporary connection with Herr Adenauer, the factory never acknowledged this nickname.

190 SL sales breakdown

The lives of prostitutes, even the more highly priced, can descend to their conclusion along a Hobbesian path and in 1957, aged twenty-four, she was murdered in her smart apartment, strangled with a silk stocking, the body not found for several days.  Given Fraulein Nitribitt operated at the upper end of the market, her clients tended variously to be rich, famous & powerful and that attracted the raft of inevitable conspiracy theories there had been a cover-up to protect their interests, a rather botched police investigation encouraging such rumors.  The murder remains unsolved.  It has been suggested sales of the 190 SL suffered because of the connection, the little roadster briefly attracting the moniker “whore’s taxi” and indeed, there was a decline in the period.  However, 1956 was the first year of full-production and a second-year drop-off in sales is not unknown, gullwing production for example dropped to 308 in 1956, quite a fall from the 855 achieved the previous year and while, at least in Germany, the association with the dead courtesan may have been off-putting, without qualitative data, one really can’t say.  There was a precipitous decline in 1958 but that was the year of the worst US recession of the post-war boom where most of the drop was booked and sales anyway quickly recovered on both sides of the Atlantic.

Frankfurt police officers examining Helga Matura's 220 SE cabriolet.  Note the jackboots.

In a coincidence of circumstances, a decade later, Fraulein Helga Sofie Matura (1933-1966) was another high-end prostitute murdered in Frankfurt, the weapon this time a stiletto (the stylish shoe rather than the slender blade).  Never subject to the same rumors the Nitribtt case attracted, it too remains unsolved.  In another coincidence, Fraulein Matura’s car was a convertible Mercedes, a white (W111) 220 SE Cabriolet.  Despite the connection, the W111 never picked up any prurient nicknames and nor did its reputation suffer, the most valuable of the W111 cabriolets now attracting prices in excess of US$300,000 for original examples while German turning houses which update the drive-trains to modern standards list them at twice that.

Helga Matura (1966) by Gerhard Richter

Gerhard Richter (b 1932) is a German visual artist whose work encompasses glass as well as aspects of both photography and painting.  Although most noted for working in illusionistic space, some of his output has belonged to various schools of realism and he seems to place himself in many of the traditions of modernism, acknowledging surrealism, the primacy of the object and the purpose of art.  Of particular interest was his 1988 series of fifteen photo-paintings (18 October 1977) depicting four members of the Red Army Faction (RAF) (better, if a little misleadingly, known in the English-speaking world as the Baader-Meinhof Gang).  Created using monochrome photographs taken mostly before their deaths, the work was an interesting exploration of time, meaning and form.

His portrait of the late Helga Matura is representative of his technique in photo-paintings, applying the practices of the Fluxus movement to material not originally created as art.  Blurred and variously in and out of focus, it takes the entirely representational image of a photograph which is then disrupted; disruptions may be for the purposes of the artist, the subject or the viewer and indeed time, the nature of the work changing whether viewed with or without knowledge of her life and death.

Crashed, California, 2005.

In 2005, Lindsay Lohan went for a drive in her Mercedes-Benz SL 65 AMG roadster.  It didn’t end well.  Based on the R230 (2001-2011) platform, the SL 65 AMG was produced between 2004-2012, all versions rated in excess of 600 horsepower, something perhaps not a wise choice for someone with no background handling such machinery though it could have been worse, the factory building 350 of the even more powerful SL 65 Black Series, the third occasion an SL was offered without a soft-top and the second time one had been configured with a permanent fixed-roof.

Fixed, Texas, 2007.

However, by 2007, the car (California registration 5LZF057), repaired, detailed & simonized, was being offered for sale in Texas, the mileage stated as 6207.  Bidding was said to be “healthy” so all's well that ends well.

Weimar

Weimar (pronounced vahy-mahr, wahy-mahr, veye-mahr or weye-mahr)

(1) A city in Thuringia, in central Germany, the scene (in 1919) of the adoption of the constitution of the German state which came (retrospectively) to be known as the Weimar Republic.

(2) A German surname (of habitational origin).

(3) As Weimar Republic, The sovereign German republic (1918-1933), successor state to the German Empire (1871-1918 and now sometimes referred to as the “Second Reich”) and predecessor to the Nazi regime (the “Third Reich”, 1933-1945).

Pre 1100: The construct was the Old High German wīh (holy; sacred) + meri (sea; lake; pond; standing water, swamp).  The name can therefore be analysed as something like “holy pond” or “sacred lake” but what religious significance this had or which aquatic feature was involved is not known.  A settlement in the area of what is now Weimar has existed since at least the early Middle Ages and there is a document dated 999 which makes reference to the town as Wimaresburg but how long this, or some related form had be in use is unknown.  Over time, the changes presumably reflected as desire for convenience and simplification (not an imperative always noted in evolution of the German language) and during the early centuries of the second millennium the place seems to have been known as Wimares, Wimari & Wimar before finally becoming Weimar.  In a manner not unusual in the Holy Roman Empire (800-1806), it was the seat of the County of Weimar, one of the administrative and commercial centres of Thuringia but in 1062 merged with the County of Orlamünde to form Weimar-Orlamünde, which existed until 1346 when the Thuringian Counts' War (a squabble between several local barons) erupted.  In the settlement which followed, Weimar was taken by the Wettin clan as an agreed fief and over time developed into a major city.  Weimar is a proper noun, Weimarization & Weimarize are nouns and Weimarian is a noun & adjective; the noun plural is Weimars.

One native to or an inhabitant of Weimar is a Weimarer (strong, genitive Weimarers, plural Weimarer, feminine Weimarerin).  The adjective Weimarian (of or relating to the Weimar period (1918-1933) in German can be used in any context but is most often applied to the art & culture associated with the era rather than politics or economics.  The comparative is “more Weimarian”, the superlative “most Weimarian”).  The noun Weimarization (a state of economic crisis leading to political upheaval and extremism) is used exclusively to describe the political and financial turmoil of the Weimar years.  The verb Weimarize (to cause to undergo Weimarization) is the companion term and is applied in much the same was as a word like “Balkanize” as a convenient word which encapsulates much in a way no other can.  The Weimaraner is a breed of dog, bred originally in the region as a hunting dog, the construct being Weimar + the German suffix -aner (denoting “of this place”).

In a constitutional sense, the Weimar Republic came into existence on 11 August 1919 when the national assembly of the German state met in the city to adopt the new Weimar Constitution.  Despite that, many historians use the label to cover the whole period between abdication on 9 November 1918 by Wilhelm II (1859 1941; German emperor (Kaiser) & King of Prussia 1888-1918) and the Nazis taking office on 30 January 1933.  The constitution created what structurally was a fairly conventional federal republic (known officially as the Deutsches Reich (German Reich)), the constituent parts of which were the historic Länder (analogous with the states in systems like the US or Australia though the details of the power sharing differed), each with their own governments, assemblies and constitutions.  Historians regards the inherent weakness of the structure as one of the factors which contributed to the political instability, economic turmoil and social unrest for which the era is remembered but the external forces are thought to have been a greater influence, notably the harsh terms imposed by the Treaty of Versailles (1919) and the extraordinary level of war reparations, the latter particularly associated with the hyper-inflation of 1923.  However, it was a time of unusual social & political freedom and there was an outpouring of innovative cultural creativity.  One thing which tends to be obscured by what came later was that by 1928 the system had been stabilized and the economy was stable.  In the last election prior to the Wall Street Crash (1929), the Nazi vote has slumped to 3% and the party was an outlier with few prospects and it was only the depression of the early 1930s which doomed Weimar.

Lindsay Lohan in court, Los Angeles, 2011.

Actually, rather than the pleasant city in Thuringia which lent the constitution its name, it was Berlin, the national and Prussian capital which came most to be associated with the artistic and sexual experimentation of the republic.  Although most of went on in the place was little different than in other conservative German cities it was the small but highly visible numbers of those enjoying the excesses which attracted attention.  In his novel Down There on a Visit (1962) Christopher Isherwood (1904–1986) wrote of the sort of warning respectable folk would in the 1920s offer to anyone who seemed to need the advice:

“Christopher - in the whole of Thousand Nights and One Night, in the most shameless rituals of the Tantra, in the carvings on the Black Pagoda, in the Japanese brothel-pictures, in the vilest perversions of the oriental mind, you couldn’t find anything more nauseating than what goes on there, quite openly, every day. That city is doomed, more surely than Sodom ever was."  And then and there I made a decision - one that was to have a very important effect on the rest of my life. I decided that, no matter how, I would get to Berlin just as soon as ever I could and that I would stay there a long, long time.

Weimar art: Der Künstler mit zwei erhängten Frauen (The Artist with Two Hanged Women), watercolour and graphite on paper by Rudolf Schlichter (1890-1955).   

Isherwood left London by the afternoon train for Berlin on 14 March 1929, taking a room next to the Hirschfeld Institute for Sexual Science from which he explored the city’s “decadence and depravity” enjoying just about every minute and by his own account every gay bar and club, of which there were many.  That niche was only one of many to which the Berlin of Weimer catered, all fetishes seemingly there from morphine, cocaine and opium houses to a club at which membership was restricted to a “coven of coprophagists [who] gorged a prostitute on chocolate, gave her a laxative and settled down to a feast.”  Actually, at the time, there was plenty of depravity among the Nazis, however much the public platform of the party might stress traditional values and they were as condemnatory as the Pope of such as communists, homosexuals and Freemasons (The Roman Catholic Church among the institutions Hitler admired along with the British Empire and comrade Stalin (and Stalin really was a construct)).  Indeed, in his writings and the recollections of his contemporaries about his discussions, Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) didn’t much dwell on moral matters but he would spend much effort condemning those aspects of German culture he believed the Weimar generation were corrupting including “modernist architecture, Dadaist art, Jewish psychoanalysis, experimental theatre, short shirts, lipstick, bobbed hair, dances like the foxtrot and jazz” (the last of which he derided as “a degenerate negroid sound”).

Weimar art: Sonnenfinsternis (Eclipse of the Sun (1926)), oil on canvas by George Grosz (1893-1959).  Weimar was not untouched by surrealism.

The lurid tales of Weimar Berlin from the diaries of Christopher Isherwood et al now entertain rather than shock as once they would have managed but the expressionist art which flourished at the time remains striking.  A stridently experimental fork of the European avant-garde, the Weimar artists chose to ignore traditional aesthetic conventions and according to some critics the painters were fascinated by ugliness, the composers by atonal dissonance.  They were also artists who were predominately urban and focused upon the city, its decadence and corrosive influence upon the individual.  The Weimar period was the time also when the phrase magischer Realismus (magic realism) was coined, more accurately to describe what had come to be known as the Neue Sachlichkeit (new objectivity).  Magic realism is now thought of as a literary genre in which fantastical elements are interpolated into life-like depictions of the world but the first use was in 1925 by German art historian Franz Roh (1890–1965) who observed many artists in the Weimar Republic were rejecting (or at least ignoring) the idealistic style (fashionable before World War I (1914-1918) and which had combined naturalistic depiction with an amplification of beauty and virtue), in favor of something recognizably realistic yet blended with uncanny elements.  Roh’s understanding of magic realism was at least partially an acknowledgement of technology: the influence of photography and moving pictures (film).  Then as now, there was debate about whether there was some point at which realism stopped and surrealism began but the distinction was that magic realism was a distortion of the actual material world for some political or other didactic purpose whereas surrealism explored the abstractions which lurked in the subconscious mind. 

In the Weimar style: The Rt Hon Theresa May MP (2023), a portrait of (Lady May, b 1956; UK prime-minister 2016-2019) by Saied Dai (b 1958).

Painted by Tehran-born Saied Dai, it will hang in  Portcullis House, Parliament's office complex where many MPs have their offices and not since Graham Sutherland’s (1903–1980) portrait of Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) was unveiled in 1954 has a painting of one of the country’s prime-ministers attracted so much interest, the reception of such works not usually much more than perfunctory.  Sutherland was commissioned (as second choice; Sir Herbert Gunn's (1893–1964) fee deemed too high) by the ad hoc “Churchill Joint Houses of Parliament Gift Committee” to paint a portrait to mark the prime-minister’s eightieth birthday and on 30 November 1954, the members of the Commons & the Lords assembled in Westminster Hall to mark the occasion.  Paid for by parliamentary subscription (the idea of paying for such a thing from their own pockets would appal today’s politicians), it was intended the work would remain with Churchill until his death after which it would be gifted to the state to hang in the Palace of Westminster.

Winston Churchill (1954) by Graham Sutherland.

Things didn’t work out that way.  Churchill, not anyway much enjoying the aging process loathed the painting and felt betrayed by the artist, the preliminary sketches he’d been shown hinting at something rather different.  Initially, he sulked, first saying he wouldn’t attend the event, then that he’d turn up only if the painting wasn’t there but his moods often softened with a little coercion and he agreed to make a short speech of thanks at the unveiling, his most memorable lines being: “The portrait is a remarkable example of modern art. It certainly combines force and candour.”  It wasn’t hard to read between the lines and when delivered to Churchill’s country house, the painting was left in a storeroom, never unwrapped and never again to be seen, Lady Churchill (Clementine Churchill (Baroness Spencer-Churchill; 1885–1977) in 1956 incinerating it in what was described as “a huge bonfire”.  That she'd executed one of history’s most practical examples of art criticism wasn't revealed until 1979.  Curiously, when first she saw it in 1954 she admired the work, Somerset Maugham (1874–1965) who was with her at the time noting she “liked the portrait very much” and was much “moved and full of praise for it.”  Her view soon changed.

The better-received May portrait was commissioned this time by the Speaker's Advisory Committee on Works of Art at a cost of Stg£28,000 (in adjusted terms somewhat less than the 1,000 guineas paid in 1954; this time all from the tax payer) and Mrs May (she doesn’t use the title she gained in 2020 upon her husband being knighted (for “political service”) in Boris Johnson’s (b 1964; UK prime-minister 2019-2022) remarkable (and belated) Dissolution Honours List) was reported as saying she thought the portrait a “huge honour”.  When interviewed, the artist said his “…aim was to produce not just a convincing physical likeness, but also a psychological characterization, both individual and yet archetypal - imbued with symbolism and atmosphere.  A good painting needs to be a revelation and also paradoxically, an enigma. It should possess an indefinable quality - in short, a mystery.”

A work of careful composition, critics have found in it influences from the Renaissance and mannerism but it’s most obviously in the spirit of the German expressionists identified with the Weimar Republic and the addition of a convallaria majalis (the "lily of the valley" which flowers in May) was the sort of touch they would have admired.  Interestingly, Mr Dai expressed relief he’d not been asked to render Mr Johnson on canvas which is understandable because while an artist could permit their interpretative imagination free reign and produce something memorable, Mr Johnson over the decades has been a series of living, breathing caricatures and it would be challenge for anyone to capture his “psychological characterization”.  The Weimaresque May in oil on canvas works so well because it’s so at variance with the one-dimensional image of the subject which has so long been in the public mind.  Whether it will change the perception of Mrs May in the minds of many isn’t known but critics have mostly admired the work and views of her premiership do seem to have been revised in the light of the rare displays of ineptitude which have marked the time in office of her three successors.

After Weimar: Der Bannerträger (The Standard Bearer (circa 1936)) oil on plywood by Hubert Lanzinger (1880-1950).  The post card with the inscription Ob im Glück oder Unglück, ob in der Freiheit oder im Gefängnis, ich bin meiner Fahne, die heute des Deutschen Reiches Staatsflagge ist, treu geblieben (Whether in good fortune or misfortune, whether in freedom or in prison, I have remained loyal to my flag, which is now the state flag of the German Reich) was issued in 1939, one of many such uses of the image which depicts Hitler as a knight in shining armor on horseback, bearing a Swastika flag.  As he did whenever a  postage stamp with his image was sold, the Führer received a tiny fee as a royalty; multiplied by millions, he gleaned quite a income from his pictures.  In one of the many examples of the fakery which underpinned Nazism (and fascism in general), Hitler was “terrible on horseback".

Der Bannerträger was an example of the type of art which proliferated in both Nazi Germany and the Soviet Union, works intended to enforce the personality cult around Hitler and comrade Stalin (1878-1953; Soviet leader 1924-1953) and reinforce the messaging of both regimes.  Hitler, although he dutifully acknowledged them when they were presented, really did regard them as a kind of kitsch and although he understood their utility as propaganda pieces, they aroused in him little interest.  What he really liked in a painting was beauty as he defined it and in this his differentiation was something like his views on architecture where the standards imposed on the “functional” varied from his expectations of the “representational”.  Hitler would admire modern architecture rendered in steel & glass if it was being used for a factory or warehouse; there it was a matter of efficiency and improving working conditions but for the public buildings of the Reich, he insisted on classical motifs in granite.  In painting, he distinguished between what was essentially “advertising” and “real” art which the expressionism of the Weimar era certainly was not; the “…sky is not green, dogs are not blue and anyone who paints them as such has a sick mind” was his summary of thought on the Weimar art movement.  His preference was for (1) the Neoclassical which drew inspiration from the Greek and Roman art of Antiquity and his fondness extended not only to the voluptuous female nudes historians like to mention but also to the idealized, heroic figures representing nobility and heroism; with these he identified, (2) realistic landscapes, particularly those of the German countryside at its most lovely, (3) German Academic Realism which produced intricately detailed realistic representations of subjects, (4) depictions from Norse mythology which created a link between the legends and the idealized vision of the Nazi project and (5), traditional portraiture, if realistic and flattering (certainly demanded of the many painted of him).

Women in Weimer art: Margot (1924), oil on canvas by Rudolf Schlichter (1890-1955) (left), Porträt der Tänzerin Anita Berber (Portrait of the Dancer Anita Berber (1925)), oil and tempera on plywood by Otto Dix (1891–1969) (centre) and Bean Ingram (1928), oil on canvas by Herbert Gurschner (1901-1975) (right). 

Books of which the Nazis didn’t approve could be burned and the proscribed music not played but the practical public servants in the finance ministry knew much of the Entartete Kunst (degenerate art) removed from German (and later Austrian) galleries was highly sought by collectors in other countries and valuable foreign exchange was obtained from these sales (some of which in the post-war years proved controversial because of the provenance of some pieces sold then and later; they turned out to have been “obtained” from occupied territories or Jews).  Hitler despised Dadaism, Expressionism, Cubism, and Surrealism and expected others in the Reich to share his view but an exhibition of Entartete Kunst in Munich in 1937 proved an embarrassing one-off for the regime because people from around the country travelled to see it and it was the most attended art show of the Third Reich.  It was Weimar’s revenge.

Wankel

Wankel (pronounced wahng-kuh)

A type of rotary internal combustion engine, first produced 1961, named after its inventor, German engineer, Felix (aka Fritz) Wankel (1902-1988).

The Wankel engine is a type of internal combustion rotary engine, one of many based on the a rotary principle, the Wankel using an eccentric drive to convert pressure into rotating motion.  The design was conceived by German engineer Felix Wankel, an eccentric, though clearly gifted, self-taught engineer who was an early convert to National-Socialism (linked with a right-wing political movement in 1921) who joined the NSDAP (the National Socialist German Workers Party which would become the Nazi Party) the following year.  It’s important not to make too much of that, the party in its early days an aggregation of factions which were, literally more nationalist and socialist in character than anything like the racist and ultimately genocidal thing into which the Nazis evolved under Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945). 

But an enthusiastic Nazi Wankel certainly was although that didn’t protect him from falling victim to the internecine squabbles which would beset the party to the very end, expelled from the party in 1932 after feuding with his Gauleiter (the regional party boss) who, after Hitler came to power in 1933, succeeded in having Wankel jailed although, under less unpleasant conditions that those tossed into concentration camps.  Indeed, while in prison, he was able to continue working on his rotary engine, a patent for which had been granted to him in 1929.

Felix Wankel admires a shaft.

Wankel though had friends in the party, one of whom approached the Führer, stressing the importance of the amateur engineer’s contribution to German industry and that proved enough to secure his release.  He worked on a variety of projects during the 1930s, some on contract for BMW but mostly for the military including on seals, something which years later would absorb much of his energy at that of many others.  Despite his efforts for the Reich, his attempts to rejoin the party were rebuffed but his friends did gain him the honorary rank of Obersturmbannführer (Lieutenant Colonel) in the Schutzstaffel (The SS (Security Squad or Section), originally Hitler's personal security detail which evolved into a vast party security apparatus and later a parallel army almost a million strong) although his career in the "black mist" wasn't long, Wankel expelled within two years.  The records were lost in the confusion of war so the reasons aren’t known but while it’s tempting to wonder just how ghastly one has to be to be thought too evil for the SS, given the lack of any subsequent punitive action against him, it’s likely he just lost out in another of the squabbles that were so common in the Nazi system, the structures of which actually encouraged internal conflict.

It didn’t stop the Nazi state funding his research including what he was then calling his “rotary motion engine” although progress was slow and slow for a reason, the fundamental flaw in the design not resolved until the 1950s when another engineer, less visionary but more practical, rectified the fault.  Wankel's rotating cul-de-sac was far from unique in wartime Germany, the interest of the regime in technical innovation and the gullibility of party officials drew cranks, con-men and inventors inspired and otherwise.  Among the projects which received interest and sometimes cash from the state was a “non-combustible” material called durofol (which would catch fire), a scheme to create liquid fuel from the roots of fir trees (which consumed three times as much energy as it produced), the production of alcohol from bakery fumes (apparently that one was quickly rejected), a “death ray” championed by notorious drunkard Reichsleiter Robert Ley (1890–1945; head of the German Labour Front 1933-1945), which turned out to be impossible to build or even test, a plan to turn the atmosphere into a conductive element using ionization (which at least has a theoretical basis even if impossible) and the mysterious “Gerloff miracle pistol”, the records for which were lost.  Compared to some of these, Wankel’s engine (which didn’t work) probably appeared quite promising.

Gleitkufenboot (skid boat).

Wankel had other projects too, one of which he would, like his engine, later revisit.  This was the Zischboot (Hiss boat), intended as a small, high-speed torpedo-boat for the navy, a kind of hydrofoil that used clusters of skis.  In the 1970s, Wankel would display a prototype (now called the Gleitkufenboot (skid boat)), powered by an impressively powerful Mercedes-Benz four rotor Wankel engine.  Wankel claimed not only was it impossible to capsize the boat but that it was unsinkable, a notable feature said to be borrowed from certain sea creatures, air-intake "nostrils" with flaps controlled by sensors to ensure no water could penetrate when driving through waves.

Wankel survived the war and suffered not greatly in the denazification process the allied occupation authorities ran to weed out the worst of the worst, his work as an engineer suggesting someone unpolitical and being expelled both from the party and the SS probably helpful in mitigation.  In that he was lucky; had the investigators dug deeper they would have discovered Nazi-era Wankel held some fairly unsavory views and had expressed them more than once.  In the new Germany, those opinions he either no longer held or kept to himself, in 1951 obtaining a position with NSU as a technical consultant.  NSU were interested in his rotary motion engine.      

1957 NSU Prinz.

NSU (the name an abbreviation of "Neckarsulm", the city in which the factory was located) began in 1873 as a knitting machine manufacturer which in 1886 branched out into the production of bicycles and so successful did this prove that by 1892, the knitting machines were abandoned, the factory converted wholly to the building of bicycles.  The first NSU motorcycles appeared in 1901 and were both popular and profitable, encouraging the company in 1905 to enter the potentially even more lucrative market for cars.  Between then and the end of World War II (1939-1945), there were ups and downs but NSU survived and, in December 1946, resumed building bicycles and motorcycles, commercial vehicle production starting in 1949.  These efforts proved successful and the company, by now a significant beneficiary of Wirtschaftswunder (the post-war German "economic miracle"), was by the mid-1950s the world’s largest maker of motorcycles and profitable enough for car production to resume in 1957.     

1958 NSU Prinz Sport.

The car was modest enough, tiny and powered by a 600 cm³ (37 cubic inch) air-cooled twin cylinder powerplant which was essentially two motorcycle engines joined by a common crankcase.  As was fashionable in small European cars of the era, the engine was at the rear, something which would prove a cul-de-sac, most manufacturers outside the Warsaw Pact soon convinced to abandon the idea.  That disenchantment actually extended to Porsche which had the 911’s replacement in production by the mid-1970s, only to find out just about every soul left on the planet who still thought rear-engined cars a fine idea were Porsche 911 buyers who insisted nothing else would do.  The customer being always right, the 911 survives to this day and that a rear-engined machine can be as well-behaved as 911s now are will be no surprise to those familiar with modern electronics but Porsche, remarkably, had engineered a high degree of predictability into its behavior even before computers were robust and fast enough to do the job.  In 1958, NSU didn’t face the same issues of high-speed handling, the new Prinz (Prince) having but 20 bhp (15 kW).  It was wholly utilitarian but suited to the times and sold well, national success (and growing incomes) meaning within a year, the idea of a more profitable up-market version became attractive.  Although little more than an Italian-styled body atop the existing underpinnings and never a huge seller, the Prinz Sport remained in production for a decade and its lightweight and slippery shape made possible an impressive top speed of 75 mph (120 km/h).  By 1968 over twenty-thousand had been built and it was the Prinz Sport NSU used as the basis for the world’s first Wankel-engined car.

The rotary engine, light, powerful and with few moving parts had interested NSU which saw the potential for motorcycles but they also quickly identified the fundamental flaw in the design which Wankel had never resolved: both rotor and rotor housing rotated, each on different axes, creating an assembly almost impossible to keep in balance as well as necessitating an additional housing.  While Wankel proceeded along his path, publicized by NSU in 1954, another NSU engineer, Hanns Dieter Paschke (1920-1999), unbeknown to Wankel, was developing his own version (KKM 57), displayed in 1957 as the DKM 54 at the NSU Research & Development Department in Versuchsabteilung.  Before long, the concept would be refined in that the single housing became static and only the rotor rotated, Wankel’s original vision intriguing but perhaps, even now, impossible to build as a practical working device and NSU devoted some years to making their version exactly that.  In 1964, it was released to the public.

1967 NSU Spider.

In 1964, the Western world was not so laden with rules and restrictions (for good and bad) and it was possible to sell for use on the public highways what were essentially prototypes in development and that the NSU Spider certainly was.  It was also a seen by NSU as an advertisement on wheels, a showcase not only for their upcoming models but also to encourage other manufacturers to buy licenses to produce their own Wankels, an option that would be exercised by many, including Alfa Romeo, Curtiss-Wright, General Motors, Daimler-Benz, Rolls-Royce and Mazda.  For whatever reason, BMW, Felix Wankel's Nazi-era employer, declined.  Citroën, an outfit with a reputation for the quirky, were enthusiastic enough to set up with NSU a Swiss co-venture to pursue the technology.  More than most, the French would come to rue the day they ever heard Wankel’s name.

Skoda (rear) engine bays, the conventional (piston) engine (left) vs the single-rotor Wankel (right).

Although the project never progressed beyond the prototype stage, the Czech manufacturer Skoda was apparently the first to have running vehicles with a rotary engine installed (a complete engine said to have been running as early as 1961) but in 1964, the NSU Spider was the first to go on sale.  It used a single-rotor, water-cooled engine and was easily distinguishable from the Prinz Sport because it was a soft top cabriolet, apart from which it was substantially the same car with only detail differences in styling and specification except it was offered only in red or white.  One other change was definitely apparent however, power had jumped to a heady 50 bhp (37 kW) at a surprisingly low 5,500 rpm, enough to propel the Spider to close to 100 mph (160 km/h) for anyone on the autobahn prepared to push the little machine to the limit.  Never expected to be a big seller, fewer than 2500 were built between 1964-1967, its purpose more to whet the public appetite for what NSU intended to be their entry into the burgeoning middle-class mass market.  Additionally, though not at the time discussed, the Spider’s engine, while at a stage of development beyond being a prototype, was not ready for release to a public using it in a wide variety of ways in different climates in different countries.  The Spider’s customers unwittingly were also NSU’s development test team, something which later in the century would become a handy business model for many software companies.

Given the specifications of the Wankel NSU would produce in the future, it may that the Spider’s single rotor powerplant wasn’t an ideal a test bed for the customers to debug but problems in design and the choice of materials were identified and, where possible, within the limits of metallurgy and the realities of economics the lessons learned were applied.  Nor was the Spider’s specification static, the experiences of the customers applied to improve not only longevity but also power, the later cars enjoying a slight increase in capacity, output now 54 bhp (40 kW) at 6,000 rpm, 4 bhp perhaps not impressing all but it was close to 10% more and although the factory didn’t claim any increase in attainable speed, the most recent Spider owners presumably got there a little more quickly.

1967 NSU Ro 80 (1967-1977).

If the spider had generated interest, the NSU Ro 80, released in 1967, was a sensation.  Even without the novelty of the rotary engine (without which all concede it would doubtless have been a success), it would have made quite an impact.  The body, which does not look out of place even in the twenty-first century, was a modernist masterpiece, trendsetting in a way the 1955 Citroën DS (often called the déesse (literally "goddess")) was just too extreme to be yet more aerodynamically efficient, the Ro 80’s drag coefficient (CD) of .354 just a fraction better than the French car’s .359.  Beneath the skin, the futurist vision continued, the efficient front-wheel-drive packaging in the vanguard of adoption by larger vehicles, four wheel disk brakes (inboard at the front), a semi-automatic transmission, power-assisted rack and pinion steering and all independent suspension.  Reviews upon release were sometimes ecstatic, the only criticism from some who found the interior austere but it was era in which only the most expensive German cars were fitted-out with much beyond the starkly functional; NSU’s designers looked to Le Corbusier and Gropius, not the Jaguar Mark X.

The Ro 80 won the 1968 European Car of the Year award and buyers seemed as impressed as the many journalists who voted NSU.  Out on the autobahns, the twin-rotor engine was a smooth, quiet and a delight to use, the slippery shape meaning the 113 bhp (85 KW) it generated from a comparatively small 995 cm³ (61 cubic inch) displacement allowed it to match the speed of cars with even three times the capacity, the turbine-like feel encouraging a disregard for the 6500 rpm redline which it seemed to exceed without complaint.  The honeymoon didn’t last.  Critics began to notice it was good to match larger six cylinder cars in performance but it came at the cost of a thirst many V8 owners didn’t suffer.  Nor was the Ro 80, so at home cruising at 100 mph (160 km/h) on the autobahn, quite as happy in the stop-start urban conditions where the modern German motorist was now spending much time, some finding the previously admired semi-automatic transmission clumsy to use, the experience jerky.  The Wankel engine didn't deliver much much low-speed torque and drivers had to adjust their technique; those used to the more effortless performance of the 2-3 litre engines most often found in this class of car found negotiating their commute through a succession of red traffic-lights harder work than before.    

Nothing is perfect and such was the appreciation of the Ro 80’s virtues these drawbacks may have been overlooked or at least endured but what couldn’t be forgiven was that the Wankel engines were frequently, numerously, rapidly and expensively failing and, being within the warranty period, it was NSU which bore the cost to repair or replace.  That was bad enough but the car was quickly gaining a reputation for unreliability and sales were falling, exacerbating the financial strain NSU was suffering from all the warranty claims.  Nor was the once profitable motorcycle business there to subsidise the four-wheel venture, production having ended in 1968 to allow the company to focus on the Ro 80.  The problems hadn’t been wholly unexpected, just underestimated; NSU’s engineers had warned the board the engine wasn’t yet ready for production and needed at least months more durability testing and development but, perhaps remembering the relatively smooth introduction of the Spider, and certainly seeking cash-flow, approval was given for a debut in 1967.

It wasn’t difficult to work out where the problems lay which was mostly in the high wear of the apex seals and consequent damage to the rotor housing.  Essentially, the seal failure destroyed the engine, necessitating a replacement and it was not uncommon for replacement engines also to fail and require replacement, again under warranty.  For a small company with limited resources, it was unsustainable and NSU was soon unviable, the takeover by Volkswagen in 1969 said to be a "merger with Audi" only an attempt to glue a veneer of corporate respectability on what was the takeover of a distressed competitor.  It was unfortunate.  In just about every way except the flawed engine, the Ro 80 was years ahead of its time and deserved to succeed.

1967 Mazda Cosmo.

The issue was the engine at that stage of its development given the metallurgy of the time rather than NSU because Mazda, which had in 1961 purchased a licence to produce the Wankel, were suffering the same problems in the Cosmo sports car, introduced also in 1967.  The Cosmo however, was a low-volume model and Mazda had other, profitable ranges on sale and so could absorb the cost of fixing failed Cosmos.  Mazda did seem to learn from the NSU experience however.  When they put the Wankel into volume production, the vehicles initially were offered either as a rotary or with a conventional piston engine, an approach which seemed promising but such was the fragility of the Wankel, even that had to be abandoned.  Mazda, after putting Wankels even into small trucks and busses, realised that for consumer vehicles, it was a niche product and restricted it to specialist sports cars.  The problems didn’t go away, but, for a while, they became manageable.

Mazda RX-7 (the Porsche 924-928 inspired second generation (1985-1992) model) in Lindsay Lohan's music video clip First (2005).

The Cosmo's spiritual replacement was the RX7, a two door coupé (there was a short run of roadsters in the second generation) built over three generations between 1978-2002.  With over 800,000 produced, it's probably still the machine most identify with the Wankel engine and was the car which came closest to gaining the mainstream acceptance which had eluded earlier models such as the RX-2 (Capella), RX-3 (Savanna) & RX-4 (Luce), probably because reliability had significantly improved and those buying relatively expensive sports cars were more tolerant of the higher fuel bill and in fairness, much of the competition offering similar performance returned fuel consumption which was little different.  It was replaced by the RX-8 which proved (thus far), the swansong for the Mazda rotary on the streets.     

1972 NSU Prinz 1200 TT.

Remarkably, Audi-NSU, although axing the outdated rear-engined Prinz range, maintained the troublesome Ro 80 in production and despite its thirst it survived even the first oil crisis which killed off so many others.  Although most of the old NSU manufacturing capacity had long been given over to the Audi production line, it wasn’t until 1977 the last Ro 80 was built, the decade’s total production of 37,000-odd a disappointment for a car expected to ship more than that every year.

Despite NSU’s takeover in 1969 in the wake of the problem, even in the early 1970s, many major manufacturers were still convinced the Wankel's many advantages would render the piston engine obsolete and embarked on large, and expensive, development programs.  In this they were encouraged by the legendary optimism and confidence of engineers who so often think any engineering problem can be solved with enough time and money.  However the problems, seal wear, emissions and high fuel consumption proved insoluble and the projects which hadn’t been abandoned didn’t survive the first oil crisis.  Apart from the odd small-volume independent, only Mazda persisted. 

Notable Wankel Moments

1974 Mazda Rotary Parkway 26 Minibus (1974-1976).

The Mazda Cosmo was shown only weeks after the NSU Spider. Twice the capacity of the NSU, it was much more ambitious and though also troubled, its low volume meant the rectification was manageable.  Only Mazda has produced Wankel engines in large quantities and they've offered the power-plant in sports cars, racing cars, sedans, coupés, station wagons, pick-up trucks & buses, the last two perhaps a curious place to put an engine not noted for its prodigious torque.  Others, with varying degrees of success, have put them in automobiles, motorcycles, racing cars, aircraft, go-karts, jet skis, snowmobiles, chain saws, and auxiliary power units.

1976 Mazda RX-5.

Even Mazda, which has at least partially solved most of the problems, currently don't have a Wankel in production; the last, used in the RX-8, unable to meet the latest EU pollution standards.  Despite this, Mazda claim to be committed to the Wankel and the factory say development is continuing, in 2016 showing the RX-Vision, hinting it could be on sale as early as 2020.  The COVID-19 pandemic put that at least on hold and concerns about CO₂ emissions may mean the Wankel's historic automotive moment, which lingered for so long, may finally have passed so whether Mazda really solved the problem of toxicity may never be known. 

1975 HJ Mazda Roadpacer (HJ & HX, 1975-1977).

Even Holden fans, as one-eyed as any, don’t have fond memories of the HJ Premier.  Usually, all they’ll say is its face-lifted replacement, the HX, was worse.  Its engines strangled by the crude plumbing used in the era to reduce emissions, driving an HX wasn’t a rewarding experience so there might have been hope Mazda’s curious decision to use the HJ (and later the HX) Premier as their top-of-the range executive car, complete with a smooth two-rotor Wankel, might have transformed the thing.  That it did but the peaky, high-revving rotary was wholly unsuited to a relatively large, heavy car.  Despite producing less power and torque than even the anemic 202 cubic inch (3.3 litre) Holden straight-six it replaced, so hard did it have to work to shift the weight that fuel consumption was worse than when Holden fitted their hardly economical 308 cubic inch (5.0 litre) V8 for the home market.  Available only in Japan and sold officially between 1975-1977, fewer than eight-hundred were built, the company able to off-load the last of the HXs only in early 1980.  The only thing to which Mazda attached its name not mentioned in their corporate history, it's the skeleton in the Mazda closet but does have one place in history, the footnote of being the only car built by General Motors (GM) ever sold with a Wankel engine.

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

Although the C-111 would have a second career in the late 1970s in a series of 5-cylinder diesel and V8 petrol engined cars used to set long-distance speed & endurance records, it's best remembered in its original incarnation as the lurid-colored ("safety-orange" according to the factory) three and four-rotor Wankel-engined gullwing coupés, sixteen of which were built.  The original was a pure test-bed and looked like a failed high-school project but the second and third versions were both finished to production-car standards with typically high-quality German workmanship.  Although from the school of functional brutalism rather than the lovely things they might have been had styling been out-sourced to the Italians, the gullwings attracted much attention and soon cheques were enclosed in letters mailed to Stuttgart asking for one.  The cheques were returned; apparently there had never been plans for production even had the Wankel venture proved a success.  The C-111 was fast, the four-rotor version said to reach over 300 km/h (190 mph), faster than any production vehicle then available.

Herr Wankel’s personal R107 (350 SL) fitted with 4 Mercedes-Benz Rotor Wankel (KE-413).

Less conspicuously than the C-111s in lurid safety orange were the roadsters which Mercedes-Benz used as Wankel test-beds.  The first used the W113 (1963-1971) platform, remembered now as the first “pagoda” and while it would never have been suitable as a production car, it apparently wasn’t as unbalanced as the sole W113 fitted with the 6.3 litre (386 cubic inch) M-100 V8 used in the big 600 Grossers and the 300 SEL 6.3 which the test drivers described as "exciting but unstable".  Still, the Wankel W113 proved quite a bit faster than the 280 SL and as a proof of concept was judged a success.  The W113 though had never been intended to use anything but a straight-six whereas the successor W107 (1971-1989) was designed from the start with an engine bay and transmission tunnel which would accommodate either a V8 or the Wankel with its high central power take-off.  The W113 had used a three rotor unit (M 50 F) but R107 had four (KE-413) and delivered considerably more power than the 3.5 litre (215 cubic inch) & 4.5 litre (275) V8s used in the production models and not until the adoption of 5.0 (305) & 5.5 (339) V8s in the 1980s would the performance be matched.

Four rotor Wankel engine (KE-413, left) and the unit installed in Herr Wankel’s 350 SL.

Yet however successful the proof of concept may have been, the early skepticism mentioned by the combustion chamber specialists was vindicated because as they pointed out the chamber was "...the central feature of the combustion engine.  The priority is to produce an optimum design so as to achieve the most favorable thermodynamic efficiency."  By that they meant "...as complete combustion of the fuel as possible” and not only was this not happening with the Wankel, their point was that fundamental aspects of the design meant it could not happen, something which manifested in high fuel consumption and difficulties in meeting the exhaust emission standards due to all the non-combusted hydrocarbons.  Modest in their demands in the early 1970s, the US regulators had already provided a decade-long roadmap which would make the rules so onerous there was then no realistic prospect the Wankel could ever be made to comply.  The engineers were confident they could produce a smooth, reliable and powerful Wankel, albeit a thirsty one, but knew they could never make it clean.  All of the factory’s W113 & R107 test-beds were scrapped when the project was cancelled but Felix Wankel’s personal R107 SL survives.  He obtained a four rotor unit from Mercedes-Benz, had it installed by technicians at his institute and in 1979, the trade journal Auto Motor und Sport published their road-test of the unique machine, reporting a 0-200 km/h (120 mph) time of 25.9 seconds and a top speed of 242 km/h (150 mph).

Citroën GS (GX) Birotor (1973-1975), Frankfurt Motor Show, August 1973.

Sometimes one gets lucky, sometimes not.  In the US, Ford introduced the new, small and economical Mustang II a few weeks before the first oil shock in 1973 and had a big hit (something sometimes forgotten by those who so decry the Mustang II and condemn it a failure).  In Australia, about the same time, Leyland announced the big new P76, a selling point its V8 engine.  The P76 wasn’t without faults and may anyway have failed but the timing didn’t help and it didn’t last long, shortly taking with it whatever remained of Leyland Australia.  In France, in October 1973, the very month in which events in the Middle East triggered the first oil shock, Citroën's thirsty GS Birotor went on sale.  Shown at the Frankfurt Motor Show in August, the reception had been generally positive, most complaints being about the aesthetic; all the Birotors appeared to be painted in shades of brown, a color which seemed to stalk the 1970s.

Mechanically though, even before going on sale, some with high hopes for the Wankel were disappointed, the Birotor not realising the promise of smaller, lighter packages.  Despite the compact size, the engine would fit in the GS’s engine bay only transversely so Citroën’s signature inboard disk brakes couldn't be used for the first time since the pre-war Traction Avant. That necessitated a different subframe, a wider track, and bigger wheel arches than the standard GS.  Combined with other detail differences, it bulked the rotary-powered GS up to 690 lb (290 kg) more than the standard GS, compelling the addition of anti-roll bars to reduce the increased propensity towards body roll.  Another mechanical aspect not much discussed at the time was the Wankel's high exhaust emissions.  In one of many possible illustrations of how the politics of the matter has changed, it was a time when the exhaust pollution rules imposed by the United States appalled Europeans because of the way they made the detoxed cars behave.  Not wishing to sacrifice power, in Europe, drivers for years enjoyed un-emasculated engines and accepted the higher emission of CO₂ and other pollutants as part of life.  Widespread interest in climate change, then the concern of a handful of specialists looking at what was called the "greenhouse effect", was a generation away.  Despite cubic money being spent, it was one aspect of the Wankel that was never fixed and was the final nail in the coffin of Mazda's RX8.    

Known also as the GZ, the Birotor replaced the noisy but robust and economical air-cooled flat four used in the GS on which it was based and cost about 70% more.  The Wankel engine was the first fruit of the NSU-Citroën joint venture and, being of small capacity, attracted lower taxes than a similar piston-engined car.  However, it suffered the problems endemic to the Wankel: ruinously high fuel consumption and chronic unreliability caused by wear of the rotor seals and the damage this caused to the housing walls.  Citroën had looked at the Ro 80's issues and had included an additional oil pump to improve seal lubrication but the problems persisted.  Internal documents later revealed that just as at NSU half a decade earlier, there were those within Citroën who understood, long before the release, that a disaster was impending but a combination of corporate inertia, an unwillingness to admit failure and a number of contractual obligations meant the Birotor went on sale.  Within months the extent of the problem was realized.  Although only a few hundred had found buyers, broken ones were being towed to dealers around the country and owners were irate.  Early in 1975, Citroën dropped the model, offering to buy back all the 847 made, running or not, customers given a full-refund.  Most agreed and Citroen scrapped every one they could, hoping everyone would forget they ever existed.  A remarkable third of owners declined the offer and many survived in private hands; among Citroën aficionados they’re a collector’s item though probably more displayed as a curiosity than driven.

A twelve-rotor motor intended for marine applications.

The low weight, compact profile, small number of moving parts and very high specific output of the Wankel has always attracted engineers.  The Wankel turned out to be well suited to applications where it could be maintained at a constant speed for long periods, the problem of unburnt fuel in the exhaust substantially resolved, improving emissions and fuel consumption.  Wankels lose efficiency dramatically when they are revved up and down as they are in the normal use of a passenger car but in boats and aircraft where engine speed tends to be constant for long periods, they can work well.  In airframes especially, where weight is so critical, the inherent advantage of the vastly superior power to weight ratio can be compelling.

1989 Norton 588.

One of the many companies to purchase a licence from NSU was English motorcycle manufacturer BSA (British Small Arms) and this became the property of Norton when it absorbed BSA in 1973.  Norton’s troubled history in the 1970s had little to do with the Wankel but after bankruptcy, it was revived on more than one occasion and during one of those escapades, it made almost a thousand Wankel motorcycles.  Other manufacturers dabbled with Wankels and Suzuki actually made some 6000 RE5s between 1974-1976 but the best of the breed were thought to be the Nortons, even though they were admitted to be early in the development cycle.  The Wankel was a more reliable thing by the time the Nortons were made but they suffered the underlying problem of all road-going applications: the advantages just weren’t enough to outweigh the drawbacks, added to which, piston engines continued to improve.  Norton allowed the project to die but did use the Wankel technology to develop a line of UAV (unmanned aerial vehicles, sometimes called drones) engines that proved successful; weighing only 22 lb (8.2 KG) yet producing 38 bhp (28 kw) they proved ideal for the task.

1972 Chevrolet Corvette XP-895 Prototype.

In 1972, spooked a bit by the news Ford would be offering the mid-engined De Tomaso Pantera through Lincoln-Mercury dealers, to steal a bit of the thunder, Chevrolet dusted-off and displayed a mid-engined Corvette prototype, production of which had been cancelled because of the cost.  It was shown again in 1973, this time with a four-rotor version of the Wankel GM had been developing in a number of configurations.  After the Wankel project was aborted, there were plans to use the body with a V8 to replace the existing Corvette, a release penciled in for 1980 but again, costs and concerns about sales potential aborted the idea.  It meant the already long-serving Corvette stayed in the line for fifteen years, not replaced until 1983 and not until well into the next century was a mid-engined version released.