Perpendicular

Perpendicular (pronounced pur-puhn-dik-yuh-ler)

(1) Vertical; straight up and down; upright; normal at right angles to a horizontal plane.

(2) In geometry, meeting a given line or surface at right angles.

(3) Maintaining a standing or upright position; standing up; exactly upright; extending in a straight line toward the centre of the earth, etc.

(4) In architecture, noting or pertaining to the last style of English Gothic, prevailing from the late fourteenth to the early sixteenth centuries and characterized by by stiff, rectilinear lines and the use of predominantly vertical tracery, an overall linear, shallow effect, depressed or four-centre arch, fan-tracery vaulting, panelled walls and fine intricate stonework (should be used with an initial capital letter so it’s not confused with being a purely geometric reference).

(5) In rock-climbing, a sharply pitched or precipitously steep mountain face.

(6) Moral virtue or uprightness; rectitude (largely obsolete).

(7) In Admiralty jargon, either of two lines perpendicular to the keel line, base line, or designed water line of a vessel.

(8) In surveying, a device such as a plumb line that is used in making or marking a perpendicular line.

(9) In historic slang, a meal taken while standing at the bar of a tavern (obsolete).

1350–1400: From the Middle French perpendiculaire, from the Old French perpendiculer, from the Latin perpendiculāris (vertical, as a plumb line), the construct being perpendicul(um) (plumb line), from pendēre (to weigh hang) and perpendere (carefully to balance (the construct of which was per- (thoroughly) + pendēre (to hang, cause to hang; to weigh)) from the primitive Indo-European root spen & pen (to draw, stretch, spin) + āris.  The suffix -aris was a form of -ālis with dissimilation of -l- to -r- after roots containing an l (the alternative forms were -ālis, -ēlis, -īlis & -ūlis); it was used to form adjectives, usually from noun, indicating a relationship or a "pertaining to”.  The French borrowing replaced the Middle English perpendiculer(e) and is the source of the modern pendant.  The noun from existed from the 1570s (the earlier noun was the circa 1400 perpendicle) and in astronomy, navigation and related matters, it was in the late fifteenth century the sense of a line "lying at right angles to the horizon" developed from an earlier adverb referring to "at right angles to the horizon.

The noun perpensity (consideration, a pondering, careful attention) appears first to have been used in the early eighteenth century, the construct being the Latin perpens- (past-participle stem of perpendere (carefully to balance) and has since the late nineteenth century been listed either as archaic or obsolete.  Perpendicular is a noun and adjective, perpendicularness & perpendicularity are nouns and perpendicularly is an adverb; the noun plural is perpendiculars.  Although perpendicular describes what nominally is an absolute value, most dictionaries acknowledge the comparative more as perpendicular & the superlative as most perpendicular, reflecting the use of the word to describe also the “quality of that which tends towards”, hence the existence in geometry, mathematics, architecture & engineering of the presumably helpful adjective quasiperpendicular to refer to the mysterious “partially perpendicular”.

In audio engineering, a perpendicular recording is the technique of creating magnetic data storage using vertical as opposed to longitudinal magnetization.  The synonym used in a technical context is orthogonal (independent of or irrelevant to each other).  To most, the idea of the perpendicular is simple but it’s been borrowed to describe some complex concepts such as the perpendicular universe (though these perhaps by definition seem usually to be referred to in the plural as perpendicular universes) which exists to distinguish it from a parallel universe (which must in some way be different).  The perpendicular universe is thus one of the competing notions (some insist these are legitimate theories) of multiple universes which are in some way parallel (as opposed to sequential or circular) though not of necessity perpendicular.  Seems clear enough.

The Perpendicular Pronoun:  The first-person singular pronoun "I"

There is a general rule defining when to use “I” or “me” in a sentence and that is the first person singular pronoun is “I” when it’s a subject and “me” when it’s an object (the subject is the person or thing doing something, and the object is having something done to it and the often quoted example to illustrate the difference is the sentence “I love you”.  “I” is the subject of the sentence. “You” is the object of the sentence (also the object of one's affection).

Lindsay Lohan and her sister Aliana at the Melbourne Cup, 2019.

In most cases it’s easier to deconstruct the sentence than think about the rule.  To work if one should say (1) “Lindsay and I are going to the Melbourne Cup” or (2) “Lindsay and me are going to the Melbourne Cup”, deconstruction confirms (1) is correct because “I am going to the Melbourne Cup” works and “Me is going to The Melbourne Cup” does not.  That’s fine but because “me” is often wrongly used, something of a perception has evolved to suggest it must always be wrong and “I” must always be correct. However, everything depends on the sentence.  It’s correct to say “Lindsay and I both picked the winning horse” but it’s also right to say “A selfie of the winning horse with Lindsay and me”, something which can be checked by redacting either “Lindsay and” or “and me”.

Lindsay Lohan in Falling for Christmas (Netflix, 2022)

Modern English use has anyway actually banished the perpendicular pronoun from places where once it was a marker of the educated.  To say “It is I” remains supported by historic grammatical correctness but sounds now so strange (because the common form is “It’s me”) that many would it’s wrong.  Pedants fret over things like this but the world has moved on and if in answer to the question “Is that you Ali” the response came “This is she”, the antiquated correctness might discombobulate one while “It’s me” would not.

Hilt

Hilt (pronounced hilt)

(1) The handle of a sword or dagger.

(2) The handle of any weapon or tool.

(3) To furnish with a hilt.

(4) As the idiom “to the hilt”, to the maximum extent or degree; completely; fully.

Pre 900:  From the Middle English, from the Old English hilt & hilte (handle of a sword or dagger); cognate with the Middle Dutch hilt & hilte, the Old Norse hjalt, the Old Saxon helta (oar handle) and the Old High German helza (handle of a sword).  Source was the Proto-Germanic helt, heltą, heltǭ, heltō & hiltijō, probably from the primitive Indo-European kel- (to strike, cut).  One form of the idiom which died out was “up to the hilts”, the plural having exactly the same meaning as the still familiar singular; first noted in the 1670s, it was extinct by the mid-eighteenth century except in Scotland and the border regions of northern England where it survived another hundred-odd years.  The vivid imagery summoned by the expression “to the hilt” is of a dagger stabbed into someone’s heart, the blade buried all the way to the hilt.  The phrase is used to suggest one’s total commitment to something although those training British commandoes in such things during World War II did caution that a blade buried in a victim "to the hilt" could be "difficult to get it out", such were "the contractions of the sinews".

Hilt is a European swordsmith’s technical name for the handle of a knife, dagger, sword, or bayonet; the once used terms haft and shaft have long been obsolete.  The hilt consists of a pommel, grip and guard.

Lindsay Lohan with saw-tooth edged dagger held at the hilt; from a Tyler Shields (b 1982) photo session, 2013.

The pommel is the large fitting at the top of the handle, originally developed to prevent the weapon slipping from the grasp but during the late medieval period, swordsmiths began to add weight so they were sufficiently heavy to be a counterweight to the blade.  This had the effect of shifting the point of balance closer to the hilt, the physics of this assisting swordsmanship.  The pommel could also be used as a blunt instrument with which to strike an opponent, something from the German school of swordsmanship known as the Mordhau (or Mordstreich or Mordschlag (literally "murder-stroke" or "murder-strike" or "murder-blow") method, a half-sword technique of holding the sword inverted, with both hands gripping the blade while striking one's opponent with the pommel or crossguard.  The technique essentially makes as sword function as a mace or hammer and in military training was envisaged for use in armoured combat although in the hands of a skilled exponent it could be deadly in close combat.  Some hilts were explicitly designed for this purpose.  The word pommel is from the Middle English pommel (ornamental knob or ball, decorative boss), from the Old French pom (hilt of a sword) & pommel (knob) and the Medieval Latin pumellum & pōmellum (little apple), probably via the Vulgar Latin pomellum (ball, knob), diminutive of the Late Latin pōmum (apple).  The use in weaponry came first, the sense of "front peak of a saddle" dating from the mid 1400s and in fifteenth and sixteenth century poetry it also sometimes meant "a woman's breasts".  The gymnast's pommel horse (vaulting horse) is so called by 1908, named for the removable handles, which resemble pommels of a saddle, the use in saddlery noted first in 1887.

Grips are still made almost always of wood or metal and once were usually wrapped with shagreen (untanned tough leather or shark skin) but this proved less durable in climates with high-humidity and in these regions, rubber was increasingly used from the mid-nineteenth century.  Whatever the material, it’s almost always both glued to the grip and wrapped with wire in a helix.  The guard sits between grip and blade.  The guard was originally a simple stop (a straight crossbar perpendicular to the blade (later called a quillon)) to prevent the hand slipping up the blade but later evolved into an armoured gauntlet to protect the wielder's entire hand from an opponent’s sword.  By the sixteenth century, guards became elaborate, now often decorative as well as functional, the innovation of this time being a single curved piece alongside the fingers (parallel with the blade and perpendicular to any cross-guards); it became known as the knuckle-bow.

Fishnet

Fishnet (pronounced fish-net)

(1) A net for catching fish.

(2) A fabric with an open mesh, resembling a fishnet.

(3) Being of an open-mesh weave.

(4) In fashion as a clipping of “fishnet stockings” & “fishnet tights”, usually in the form “fishnets”.

(5) In mathematics, geometry and mapping, as “fishnet grid”, a grid of equally-sized (usually square or rectangular) cells which can be overlaid onto another representation for various purposes.  

Pre 1000: from the Middle English, from the Old English fiscnett, the construct being fish + net.  Fish was from the Middle English fisch, from the Old English fisċ (fish), from the Proto-West Germanic fisk, from the Proto-Germanic fiskaz (fish).  It may be compared with the West Frisian fisk, the Dutch vis, the German Fisch, the Danish, Norwegian & Swedish fisk and the Icelandic fiskur, from the primitive Indo-European peysḱ- (fish) (the equivalent form in was iasc and in Latin piscis.  Net was from the Middle English nett, from the Old English net & nett, from the Proto-West Germanic nati, from the Proto-Germanic natją, from the primitive Indo-European ned- (to turn, twist, knot).  It was cognate with the West Frisian net, the Low German Nett, the Dutch net, the German Netz, the Danish net and the Swedish nät.  Fishnet is a noun & adjective; the noun plural is fishnets.

The most obvious “fishnet grid” is of course the fishnet, used by fishers to catch fist and one of the oldest technologies still in use with its essential design unchanged although much has changed in terms of materials, scale and techniques of use.  The same design (a grid structure with equal sized cells) is used in various field including (1) concreting where the steel reinforcing for slabs is used in this form, either in pre-made sections or assembled on-site.  (2) In agriculture, the grids are used as a support structure for climbing plants like beans which grow up the grid, gaining enhanced exposure to airflow and sunlight; ultimately, the arrangements also make harvesting easier and cheaper.  Made now with slender, strong, cheap and lightweight plastic strands which don’t absorb moisture, like the nets used to harvest fish, the agricultural mesh is produced in a variety of cell sizes, the choice dictated by the crop. (3) In architecture and interior decorating, grids are common design element, sometimes integrated into structural members and sometimes merely decorative.  (4) In fashion, the most famous fishnet grids are of course those used on stockings & tights where the most frequently seen patterns are diamonds or squares displayed with points perpendicular.  When used of other garments, the orientation of the cells can vary. (5) In industrial design, fishnet grids made of durable materials like steel or synthetic fibers are widely used, providing structures which can be lighter than those made with solid materials yet, in a seeming paradox, be stronger, at least in the direction of the stresses to which they’ll be exposed.  Such constructions are often used in support structures, fencing and other barriers.

North America with the lines of latitude & longitude as traditionally depicted in maps using a fishnet grid (left) and in a form which reflects the effects of the curvature of the earth.

In cartography, the most famous fishnet grid is that made up from the lines of latitude & longitude which, east & west, north & south, encircle the globe and have for centuries been used for navigation.  However, the familiar representation of the lines of latitude and longitude as a fishnet grid is illusory because the common, rectangular map of the world is just a two-dimensional rendering of a three dimensional sphere.  For most purposes, the flat map is ideal but when lines of latitude & longitude were added, so were distortions because the lines of longitude converge at the poles, becoming progressively closer as they move away from the equator.  Never parallel on the sphere which is planet Earth, on a map the lines are exactly parallel; a perfect fishnet grid.

The politics of the Mercator Map

The Mercator projection was developed in 1568 by Flemish geographer, cosmographer & cartographer Gerardus Mercator (1512–1594) as a navigation tool with spherical planet earth depicted on a flat rectangular grid with parallel lines of latitude and longitude.  Its functionality was such that in the west, it became the standard technique of projection for nautical navigation and the de facto standard for maps and charts.  For seafarers it was invaluable; all they needed do was follow the line on the chart and, barring accidents, they would arrive where intended.  However, the Mercator map is a most imprecise representation of the precise shapes and relative sizes of land masses because the projection distorts the size of objects as the latitude increases from the Equator to the poles, where scale becomes infinite.  That’s why land-masses such as Greenland and Antarctica appear much larger than they actually are, relative to equatorial areas such as central Africa.

The Mercator map (left), the distorting effect of the Mercator projection with the real size in the darker shade (centre) and the actual geography of Earth's land masses (right).

In the twentieth century, that distortion attracted criticism on the grounds the projection tended to increase the size of the land-masses of the European colonial powers while reducing those in the colonized south.  However, neither Gerardus Mercator nor other cartographers had social or political axes to grind; the geographical distortion was an unintended consequence of what was designed as a navigational device and it's anyway impossible accurately to depict the surface of a sphere as a two-dimensional rectangle or square (the so-called "orange-segment" renditions are dimensionally most accurate but harder to read).  The Mercator map is no different from the map of the London Underground; a thing perfect for navigation and certainly indicative but not to exact scale.  Modern atlases generally no longer use the Mercator map (except for historical or artistic illustrations) but they’re still published as wall-maps.

The Tube

The classic "map" of the London underground is an ideal navigational aid but, conceptual rather than being drawn to scale, applying a fishnet grid would be both pointless and without meaning.  Professional cartographers refer to such things as "diagrams" or "mud maps", the latter a colloquial term which began life in the military and was a reference to the improvised "maps" drawn in the soil by soldiers in the field.  While not precise, to scale or a detailed representation of an area, they were a simple visual aid to assist in navigation.

Fishnet fan Lindsay Lohan: Confessions of a Teenage Drama Queen (2004), (left), Elle Style Awards, London, February 2015 (centre) and Cannes Film Festival, May 2017 (right).  

There are both fishnet tights and fishnet stockings and unless worn in a manner to permit an observer to discern which, whether it’s one or another is often known only to the wearer, the distinction blurred further by manufacturers being sometimes inclined to be a bit loose with their labeling.  While both items of leg-wear, there are technical differences in the construction, coverage and style.  Tights should be made of a thicker, more opaque material which affords complete coverage from the waist to the toes.  Although a fashion item, the historic purpose of tights was to keep the legs warm in cold weather and they were a garment of some importance when there were dress codes which denied women the right to wear trousers.  Constructed almost always in one piece, tights have an elastic waistband which has the primary purpose of keeping them in place but there are some tights which technically are “shapewear”, the midsection an expanded, all-round elastic panel which has a mild compression effect on the areas around and immediately above the hips, rendering a more trim silhouette.  Except for a handful of high-priced products, tights use relatively thick materials like nylon or spandex (sold as lycra in some markets).  There are also composite materials now available which has meant the range of thicknesses, colors and patterns offered has been expanded and the finishes range from semi-sheer to opaque, making them suitable for casual and formal occasions while still providing protection from the cold.  The essential difference between tights and leggings is the later are shorter, stopping anywhere from the ankle to the upper calf (although some specialized sports leggings extend only to somewhere above the knee).

Classically, stockings were designed to cover only the legs between the upper-thigh and the toes.  Made typically from a sheer material, they are held in place by a device called a “garter belt” or “suspender belt” which sits around the hips, two (sometimes three) elastic “suspender slings” (a marvelous name) are attached to each side at the ends of which are metal clips into which a rubber or silicone disc is inserted through the stocking material, holding it permanently in place.  Usually sheer in a color spectrum from black to white (with a solid emphasis of “skin tone” although sensitivity to the implications of that term means it now less used), patterns are also available and among the most popular is the single, emulated “seam” running vertically up the back of the leg.  Until the mid twentieth century, stockings were made almost exclusively from silk are they remain available but the majority use some form of synthetic, either nylon or a nylon-mix and are thought to impart both a more delicate and refined look and are thus associated with formal attire.  The modern hybrid which has since the 1970s captured most of the stocking market is “pantyhose” (the construct being a portmanteau of the modified clippings of panties (panty) + hosiery (hose).  Pantyhose used the design of tights and the sheer material of stockings, the obvious advantage being the convenience of not needing the belt apparatus with its alluring but fiddly “suspender slings”.  Fishnet pantyhose are available.

Coefficient

Coefficient (pronounced koh-uh-fish-uhnt)

(1) In mathematics, a number or quantity in an equation placed usually before and multiplying another number or quantity; a constant by which an algebraic term is multiplied; a number, value or item that serves as a measure of some property or characteristic.

(2) In physics, a number that is constant for a given substance, body, or process under certain specified conditions, serving as a measure of one of its properties; a number, value or item that serves as a measure of some property or characteristic.

(3) Acting together (rare except in historic references).

1580s: From the Middle English coefficient (that which unites in action with something else to produce a given effect), from the French coefficient, coined by French mathematician François Viète (1540-1603), from the Late Latin coefficient, stem of coefficiēns, which is a nominalisation of the present active participle of coefficere, the construct being co- (together) + efficere (to effect) from efficio.  The alternative spelling is co-efficient and the adjectival sense “acting in union to the same end” was first used in the 1660s.  Coefficient is a noun & adjective, coefficiency is a noun and coefficiently an adverb; the noun plural is coefficients.

In science and engineering, the word is applied for a variety of technical purposes, including:

(1) In physics, as coefficient of friction, the ratio between (1) the magnitude of the force of friction which a surface produces on an object (moving along the surface or being pressed statically against it) & (2) the magnitude of the normal force which is produced by the surface on the object and which is perpendicular to that surface.

(2) In physics, as drag coefficient, a dimensionless quantity quantifying the amount of hydrodynamic drag force experienced by an object with a given area immersed in a fluid of a given density flowing at a given speed.

(3) In statistical analysis, a coefficient of alienation (or coefficient of non-determination), a numerical measure of the lack of relationship between variables.

(4) In physics, as ballistic coefficient, the ratio of the mass of an object to the product of its maximum cross-sectional area and its drag coefficient, used to measure the object's resistance to deceleration by hydrodynamic drag.

(5) In chemistry, as Bunsen coefficient, the number of millilitres of gas dissolved in a millilitre of liquid at atmospheric pressure and a specified temperature.

(6) In statistics, as Dice coefficient, a statistic used to gauge the similarity of two samples.  It is equal to twice the number of elements common to both sets, divided by the sum of the number of elements in each set.

(7) In naval architecture, as prismatic coefficient, the ratio between the total submerged volume of a vessel's hull, on the one hand, and the product of the length of the submerged portion of the hull with the area of the largest cross-sectional slice of the submerged portion of the hull, on the other.

(8) In naval architecture, as block coefficient, the proportion occupied, by the submerged portion of a vessel's hull, of a rectangular prism with dimensions equal to the maximum beam of the submerged portion of the hull, the length of the submerged portion of the hull, and the draft of the vessel.

(9) In measurement, as temperature coefficient, a number which relates the change of the magnitude of a physical property to a unit change in temperature.

(10) In nuclear engineering, as void coefficient, a number quantifying how the reactivity of a nuclear reactor changes due to the formation of bubbles in the reactor's coolant.

Drag coefficient (CD)

Except in a vacuum, objects in motion are subject to drag, the friction created by air or water interacting with the object’s surface.  This friction absorbs energy the object could otherwise use to maintain or increase speed so, except where drag is required (such as the need for a certain amount of down-force), designers of objects which move, shape them to minimise drag. Historically, the drag coefficient was notated as c_d but it’s also written as c_x & c_w (cd or CD a common form in non-specialist literature).  The CD number is calculated according to a equation, the construct of which varies according to the object to be assessed.  For a car, the equation is:

F = 1/2 * rho * S * Cx * v²

F is the dragging force, in expressed in Newtons (N)

S is the frontal surface of the object in square metres (m²)

Cx is the aerodynamic finesse, which varies depending on the shape of the object

v is the relative speed of the object (the car) compared to the fluid (the air), in meters per second (m/s), separated into vc (object speed) and va (air speed) and written (vc - va)

rho is the density of the fluid, the air, in kilograms per cubic meters (kg/ m³) (approximately to 1.55 kg/m³)

The drag coefficient (CD) is a measure of aerodynamic efficiency, expressed as a number and, as a general principle, the lower the number, the more efficient the shape but the CD is often misunderstood.  It’s not an absolute value which can be used to compare relative efficiency of objects of radically different shapes.  A CD for an aircraft needs to be compared with that of other airframes, not those of a train or truck, the CD calculated by an equation using a variable (the reference area) relevant to the function of the object.  For aircraft, the variable is the wing area because it’s relevant for an object moving in three dimensions whereas for road vehicles, it’s the frontal area, cars and trucks almost always moving forward.  That’s why noting a Boeing 747 has a CD of .031 while a Porsche 911 might return .34 is a meaningless comparison.

1963 Jaguar E-Type S1 (XK-E) FHC (fixed head coupé) (left) and 1962 Volkswagen Type 2 (23 Window Samba).

Even among road transport vehicles, the variability in the equations needs to be understood.  Just because a Volkswagen Type 2 returns a CD of .42 doesn’t mean it’s a more aerodynamic shape than a Jaguar E-Type (XK-E) which produces a notionally worse .44 CD.  The numbers are a product partly of the variable, the frontal area, so the efficiency of the Volkswagen can be assessed only if compared to other, similarly sized vans.

Rigger

Rigger (pronounced rig-er)

(1) A person who rigs.

(2) A person whose occupation is the fitting of the rigging of ships.

(3) A person who works with hoisting tackle, cranes, scaffolding etc (the protective or supporting structures on or around construction sites).

(4) A mechanic skilled in the assembly, adjustment, and alignment of aircraft control surfaces, wings, and the like (eg parachute rigger); a person skilled in the use of pulleys, lifting gear, cranes etc.

In rowing, rowing a bracket on a racing shell or other boat to support a projecting rowlock or other fixed fulcrum.

(6) In digital animation, one whose occupation is to outfit a computer model with controls for animation.

(7) One who rigs or manipulates (an election, a market etc).

(8) A plastic bottle of beer, typically between with a volume between 1.0-2.5 litres (1-2.6 quarts) (New Zealand).

(9) In (usually graphic) art, a long, slender, pointed sable paintbrush for making fine lines etc; said to be so called from its use for drawing the lines of the rigging of ships.

(10) In the role-playing behavior of sadomasochism, a person who applies functional or artistic rope or strap bondage to another person's body.

(11) A cylindrical pulley or drum in machinery.

(11) One whose occupation is to lift and move large and heavy objects (such as industrial machinery) with the help of cables, hoists, and other equipment.

1490s: The construct was rig + -er.  Rig was from the Early Modern English rygge, probably of North Germanic origin and related to the Danish & Norwegian rigge (to bind up; wrap around; rig; equip), the Swedish dialectal rigga (to rig (harness) a horse) and the Faroese rigga (to rig; to equip and fit; to make function”).  The source was perhaps the Proto-Germanic rik- (to bind), from the primitive Indo-European rign- reig-, & reyg- (to bind) or it was related to the Old English wrīhan, wrīohan, wrēohan & wrēon (to bind; wrap up; cover) which are linked also to wry (to cover; clothe; dress; hide).  The late fifteenth century verb rig was originally nautical in the sense of "to fit (a ship) with necessary tackle; to make (a ship) ready for sea" and gained the extended sense of "dress, fit out with, furnish with, provide (with something) emerged in the 1590s; that of "to adjust, put in condition for use, set in working order" is from circa 1625.

The slang meaning "pre-arrange or tamper with results" is attested from 1938, although the noun rig (a trick, swindle, scheme) had been used as early as (1775) and, apparently unrelated was the meaning "sport, banter, ridicule" dating from 1725.  The phrase “to rig the market” was used, firstly in stock exchange c=slang and later more generally to convey the idea very familiar in modern times: "raise or lower prices artificially to one's private advantage".  One use as a verb which faded was that meaning "ransack", from the 1560s.  It’s strange rig & rigger took that long apparently top evolve given rigging was known as a verb meaning "action of fitting (a ship) with ropes” circa 1400 and as a noun meaning "the ropes that work the sails of a ship" from the 1590s.  It may be rig and rigger in this context existed in oral use.  The use in nautical & naval architecture to describe the "distinctive arrangement of sails, masts etc on a ship; the characteristic manner of fitting the masts and rigging to the hull of any vessel," without regard to the hull is documented from 1769 although a number of sources insist the first use was in 1822, probably because that’s the earliest known reference in Admiralty papers.

Use extended to costumes, and clothing outfits (especially if as a fanciful description) by 1843.  In engineering, it was widely used to describe just about any creation added for some purpose but was by 1831 most associated with horse-drawn vehicles and this was later adopted to refer to trucks, buses etc, a use still common today, especially for large trucks.  In oil extraction, the apparatus used for well-sinking was known as a rig as early as 1875.  Rig was 1570s slang for “a wanton girl or woman" which, although long obsolete had had the odd idiosyncratic revival; it was probably related to the also obsolete use from the same era describing "to play the wanton; to romp about".  As a noun, a rigger by 1610 was "one who rigs ships", that sense later adopted to describe aircraft mechanics (1912) and those employed on oil rigs (1949).

The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought usually to have been borrowed from Latin –ārius and reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European -tōr.  The –er suffix was added to verbs to create a person or thing that does an action indicated by the root verb; used to form an agent noun.  If added to a noun it usually denoted an occupation.

Flying Cloud (launched 1851) (1921) drawing by George Robinson, National Maritime Museum, Greenwich, London.

“Square-rigged” ships are those with (approximately) square sails rigged onto horizontal spars attached to perpendicular masts, sitting therefore square to the keel.  The spars are known also as yards and their tips, beyond the last point of attachment (or stay) are called yardarms, the part of a rig associated with the phrase “hung (ie hanged) from the yardarm”, in folklore the Admiralty’s preferred means of executing death sentences though practiced less frequently than the legend suggests.  The square-rig formation evolved as the standard ocean-going form because, when sailing downwind, it’s aerodynamically the most efficient shape which survived into the steam age, many of the early steam-ships (including naval vessels) constructed as hybrids which combined powered propulsion with square-rigged sails.  To reduce running costs and carbon emissions, there’s now a renewed interest in using sails (or sail-like structures) on commercial vessels to augment the power from oil-based engines.  Square was from the Middle English square, sqware & squyre, from the Old French esquarre & esquerre, (which persists in modern French as équerre), from the Vulgar Latin exquadra, the construct being ex- (from Middle English, from words borrowed from the Middle French, from the Latin ex (out of, from), from the primitive Indo-European eǵ- & eǵs- (out)).  It was cognate with the Ancient Greek ἐξ (ex) (out of, from), the Transalpine Gaulish ex- (out), the Old Irish ess- (out), the Old Church Slavonic изъ (izŭ) (out) & the Russian из (iz) (from, out of).  The “x” in “ex-“, sometimes is elided before certain constants, reduced to e- (eg ejaculate)) +‎ quadro, from quadrus (square), from quattuor (four).

The square-rigger MGs

1949 Jaguar XK-120 OTS (Aluminum body).

The “square rigger” sports car was one made in the style which evolved in the 1920s and 1930s, characterized by the upright, angular lines of its many disparate parts, the point of comparison being the classic big ships of the sail age.  The term came into use in the immediate post-war years to differentiate these old-style sports cars from the new, modernist generation, typified by the Jaguar XK-120, which featured lower profiles and curvaceous, flowing lines.  The term is thus often used casually to apply to any sports car of the old, pre-war style.

1958 Citroën DS19 Décapotable Cabriolet d'Usine by Henri Chapron.

In the post-war years, the term “square rigger” came most to be associated with the T series MGs.  Replacing the P series which in two models had run between 1934-1936, the T series was, excluding the war years, in production between 1936 and 1955, the year Citroën introduced the DS which provides a comparison as amusing as the XK-120.  Somewhere during those two decades the cars descended into obsolescence but their attraction lay in their charm and the sheer entertainment they delivered, offering an intimate and tactile experience which belied their miniscule power and performance which was, at least in a straight line, modest when compared even to mundane family cars of the era.   

MG PA Midget (1934-1935, 1973 built)

1934 MG PA Midget.

The P series Midget replaced the rather more exotic J series and although the relationship to previous models was obvious, the P was well-received and thought much improved.  The new overhead camshaft (OHC) 847 cm³ (52 cubic inch) engine attracted particular praise, the revised lubrication and induction system delivering a willing and lively character well suited to a sports car.  Knowing many customers would use them for competition, MG installed a strengthened four-speed gearbox and heavy-duty clutch, drivers assisted in their ability to harness the additional performance by brakes fifty percent larger.  It featured also one of the first safety innovations (a thing that would in coming decades become an accelerating trend), a flat-fold windscreen made from toughened non-discolourable “Triplex safety glass".

1935 MG PA Midget Airline coupé by H W Allingham of London.

The P series was offered in the colors which would come to be associated with the marque (Ulster Green, Dublin Green, Oxford Blue, Cambridge Blue, Carmine Red & Saratoga Red) but the most popular choice remained gloss-black.  The standard factory bodies were the two-seater roadster and four-seat tourer but specialist coachbuilders made available more elaborate drophead coupés (DHC) although the style most memorable was Allingham’s Airline Coupé although, being as expensive as many larger vehicles, few were ordered.  At the time of release, the factory listed the two seater at Stg£220, the four seater an additional Stg£20; the Airline cost Stg£290.

The three 1935 MG PAs of the "Dancing Daughters", Brooklands, 1935, prior to departure for Le Mans.

Unlike many of its predecessors, the factory didn’t envisage a competition programme for the P series but a three-car team was entered in the 1935 24 hour Le Mans race. Remarkably, the drivers were six young ladies, bright young things soon dismissively dubbed "The Dancing Daughters" by the even then nasty British tabloids, the reference being to a popular BBC radio programme of the time (a broadcast of a troupe of teenage tap-dancers, perhaps a challenging concept for radio although, in the studio, the girls were costumed skimpily “to get the atmosphere”).  They attracted much publicity but little success, the cars under-powered for such a circuit.

MG PB Midget (1935-1936, 525 built)

1936 MG PB Midget.

The Le Mans experience in part prompted the more powerful PB which was introduced in 1935, the engine was enlarged to 939 cm³ (57 cubic inch) and a close ratio gearbox was fitted.  There were detail changes too, one of which the consequence of an early example of environmental legislation.  In 1935, fearing an ancient species was under threat, the US government banned the export of Sequoia redwood timber so the PB’s dashboard was instead finished in the more familiar burr walnut.  Very much a transitional model, the PB was available only briefly but its debut depressed interest in the PA to the extent that not even a substantial price was enough of an inducement to buyers so the factory converted the two-dozen odd remaining PAs to PBs, both variants sold for the same Stg£222.  Production of the PB ended in February 1936.

MG TA Midget (1936-1939, 3,003 built)

1937 MG TA Midget.

Corporate restructurings are nothing new and nor is the tyranny of the cost-accountant.  In 1935, the MG Car Company was sold to Morris Motors and in the inevitable agonizing reappraisal which ensued, MG lost its autonomy and became a corporate badge and one expected to deliver a better return on capital: profits had to be higher.  The first sacrifice was the competition department, followed almost immediately by the MG design office and the cancellation of the spirited little OHC engine which had given the PA & PB so much of their sporting character.  It was a harbinger, a rationalization which would spread and over decades drive almost all the UK’s motor industry to extinction.  Under new management, the design imperatives were now profitability, simplicity of production and uniformity in parts to maximize interchangeability between ranges.

1938 MG TA DHC by Tickford.

The purists were thus not hopeful but the T series, released in 1936 was the first in a successful line which would be in production for a dozen-odd years, the run till 1955 interrupted only by six war years during which MG’s industrial capacity was given over to military needs.  The T might not have had the OHC engine but the overhead valve (OHV) pushrod unit which replaced it, although borrowed from a pedestrian little saloon, was a larger 1292 cm³ (79 cubic inch) and generated some 50 horsepower, a useful increase over the 36 & 43 the P series engines had managed and delivered it in a more effortless manner than its smaller predecessors which actually made it more suitable for both the road and in competition.  Longer and wider, the T was much more spacious and the hydraulic brakes were a welcome addition, all for the same Stg£222 as the PB. 

1936 MG TA Midget Airline coupé by H W Allingham of London.

The T series made the Midget suddenly civilized although, as part of the corporate rationalization, factory coachwork was limited to a single two-seat roadster but separate chassis were still supplied to coachbuilders and Tickford (the brand of Salmons and Sons (1830)), produced some two hundred and fifty elegant DHCs with such luxuries as wind-down windows, full carpeting and a clever convertible top which could be closed, partially open or fully thrown back.  The Airline style was reprised by Allingham, Whittingham & Mitchel and Carbodies and although much-admired, being still expensive, only a handful were built.  Despite the misgivings, the T proved a great success and was built until 1939 when it was replaced by the TB which included a new engine which would become one of the most storied in MG’s history: the XPAG.

MG TB Midget (1936, 379 built).

1939 MG TB Midget.

By May 1939, war clouds were gathering over Europe and Finnegans Wake by James Joyce (1882–1941) was published.  Into this strange and uncertain environment, MG released the TB, visually apparently as little changed from the TA as the PB had been from its predecessor but under the louvered bonnet now sat the new XPAG engine which would until 1955 power just about every MG made and provide numerous builders of race cars with a light, robust and tunable power-plant, one which would see some of the specials it powered top 200 mph (320 km/h).  Over the years, extraordinary power outputs were achieved, the tough little engine able to withstand supercharging at pressures which broke many others.  Totally new, although a slightly smaller 1250 cm³ (76 cubic inch), there was now a bigger bore which lent itself to a sportier state of tune but, under the dopey calculation of the time, attracted a higher tax-rate.  With the introduction of the TB, the designation TA was applied to the earlier car which hitherto had been known simply as the T series, the same act of retrospective re-christening which had turned P into PA.  The TB was priced at Stg£225 for the 2 seater and Stg£270 for Tickford’s DHC but there would be no more of the exquisite Airlines. 

1939 MG TB Midget.

The XPAG restored some of the character of the old OHC engine, the bigger bore and shorter stroke delivering the maximum 55 horse power at 5,250 rpm against the 4,500 rpm of the TA, performance generally improved in all aspects and made easier to exploit with the fitting of a new four-speed gearbox which included synchromesh on all but the lowest ratio.  The TB was in production for only a few months before the declaration of war in September; the brochures for the 1940 model-year were actually ready for printing and the range had been announced when production was abruptly halted after 379 TBs had been completed.  Rapidly, the Abingdon factory was cleared of all the machinery of car assembly and devoted for the duration to parts for aircraft, machine guns and the servicing of tanks and trucks.  In hibernation for six years, the TB would return in what would prove to be a new world and it would be called the TC. 

MG TC (1945-1949, 10,001 built).

1947 MG TC.

On both sides of the Atlantic, the cars released in the early post-war years were almost all barely revised versions of those last available before the outbreak of hostilities.  The MG TC, the first of which left Abingdon in 1945 actually was structurally more different from the TB than most of the cars of 1945-1946 were from their predecessors because the passenger compartment had been widened by four inches (100 mm), creating more interior space without the need otherwise to alter the body or chassis.  Other than that and some detail mechanical and electrical upgrades, it was essentially a re-birth of the same basic design as the TA of a decade earlier.  Despite that, just resuming production to the extent of the few dozen examples completed before the end of 1945 was something of an achievement given the chronic shortages of steel and other raw materials or components.

1948 MG TC.

Immediately, it was an outstanding success.  The UK’s new government understood the parlous state of the nation’s finances and extorted the manufacturing sector with the simple mantra “export or die” and MG responded, much early TC production allocated to the export trade.  The volume of sales to the Commonwealth’s southern dominions (Australia, New Zealand & South Africa) had been expected because these had been receptive markets in the pre-war years but what was surprising was the demand from the United States and Canada, triggered it was suspected by the number of returning servicemen who had so enjoyed or at least yearned for the little sports cars during their time in the UK.  Although only 2000 of the 10,001 TCs made went to the US, the interest was enough for the factory to do a run of US-specific models (still all right-hand-drive) and it was the TC which whetted the American appetite for small sports cars and in the 1950s, MG would benefit from what became something of a craze, one which the square-riggers and their successors would for decades exploit.

MG TD (1949-1953, 29,644 built)

1950 MG TD.

The TD was the most popular of the T series and was the car which both established the brand in the US and encouraged others to realize the sports car craze was real and thus a market segment to explore.  From what General Motors initially regarded as the improbable success of the TC and TD, would come first the tentative toe in the water that was the Chevrolet Corvette show-car and later the long line of production cars which, over eight generations, continues to this day.  The TC however was, even before it was discontinued in 1949, a museum-piece, if an entertaining one, and it was clear that for MG further to succeed in the US market would require a more modern interpretation of the sports car.  The budget was limited but the culture of simplicity of production and uniformity in parts to maximize interchangeability between ranges now proved advantageous, a small team allocated to develop a prototype using mostly what fell immediately to hand.  In what was a master-class in improvisation, they shortened by five inches (127 mm) and then stiffened the chassis of a MG YA saloon, grafted on an independent front suspension & rack and pinion steering, made the changes necessary to ensure it could easily be made with either left or right-hand drive and overlaid a (slightly) modernized rendering of the TC’s body.  The design team would have preferred to create something more sophisticated and certainly something which looked more contemporary but, given the constraints under which they worked, the TD was a good result, both as a piece of engineering and, more critically, one that made commercial sense.

1952 MG TD.

Underneath, the changes were transformative and they needed to be.  The TC’s platform was little changed from the cars of the 1930s, themselves just refinements of a decade-old concept and while antiquated even compared to its stop-gap contemporaries of 1945-1949, it looked prehistoric against the new generation models of the early 1950s.  The TD’s saloon-based chassis was hardly innovative but was rigid and well-executed with a modern arrangement for the independent front suspension and a rear-end which accommodated additional travel by sweeping the frame up over the axle instead leaving it underslung.  The XPAG engine differed in being derived from that used in Y type so included its improvements to lubrication and the attached accessories.  The most obvious change was to the body, substantially revised for the first time since 1936 and, while the stylistic legacy was apparent, was considerably wider and thus more spacious.  Structurally, the engineering was carried-over, body panels still mounted on the traditional wooden frame of English ash.

1953 MG TD.

A mix then of old and new as many products are.  Even though not one body-panel was unchanged and the interior fascia was new, the aesthetic was entirely square-rigger with cutaway doors, separate flowing front wings, running boards, stand-alone headlamps and the characteristically upright MG radiator with vertical slats.  As had been the motif since the 1920s, a centrally hinged bonnet, an exposed slab-sided fuel tank and a rear-mounted spare wheel carrier maintained the period-look.  Where modernity's intrusion was unobtrusive, such as the independent front suspension, it was welcomed but some changes attracted criticism from a few.  The sturdy chromium plated bumper-bars added weight which it had be MG’s practice to avoid but reflected the needs of the US market where sales were overwhelmingly in urban areas where owners shared parking spaces with domestic automobiles increasingly equipped with substantial bumpers with something of the quality of the battering ram.  Also controversial were the smaller diameter, pressed-steel disc wheels which replaced that sports-car staple, the TC’s tall, spindly spoked wire-wheels.  It was again the intrusion of the rationalists.  Because different wire-wheels would have had to be made to accommodate the arms and links of the rack and pinion steering, the corporation refused to authorize the design, tooling and production for a part unique to one, low-volume model.  The disc wheels actually offered advantages, being much easier to clean and not as prone to the damage and distortion the wire wheels suffered when used on secondary roads.

1952 MG TD (Eduardo Muñoz) and 1953 Porsche 1500 (Rezende Dos Santos), Vuelta de Aragua Road Circuit, Aragua State in Venezuela, 14 June, 1953.

The TD was much improved but there was a price to be paid.  Weighing some 200 lbs (90 KG) more than the TC while enjoying only the same 54 horsepower, the TD was less lively than its predecessor, something a change in gearing only partially disguised so for those who wished for more, in 1950 the factory made available a "competition" version with a higher compression ratio which delivered 62 horsepower, a useful increase of more than 10%.  Officially, the "competition" TD was sold only in markets where high-octane petrol could be purchased at the pump but dealers entered into arrangements with the factory so those with access to supplies of aviation fuel could enjoy the experience.  However, few had bought TCs for their outright performance numbers and the increasing gulf between the little sports cars and the ever more powerful vehicles which began to surround them seems not to have been sufficient to dampen demand, customers flocking to buy TDs upon its debut in 1949 and over its four-year run, some thirty-thousand would be build, most destined for the US market, sales encouraged somewhat by Sterling in September 1949 being devalued to US$2.80, an adjustment of around a third, correcting the absurd post-war maintenance of the Stg£1=US$4.03 peg set in 1940.

MG TF (1953-1955, 9600 built).

1953 MG TF 1250.

The TF was the last of the square-riggers.  It was also an accident of history, the result of corporate intrigue within the BMC (British Motor Corporation) conglomerate of which MG was one, small part and, even at the time, it was no secret the TF was a stop-gap model there to fill the showrooms with something (sort of) new before the arrival of the much anticipated MGA.  What had happened was the Healey company reached the BMC boardroom with a proposal for the Healey 100 before MG got there to make the case for the MGA and the board, thinking the two too similar to be released at the same time, put the MGA on hold.  It was emblematic of the way business would be done at BMC and the many successor corporations; Healey had pipped MG by several days, history for centuries recording how such luck influences events.  Thus evolved the TF, a just slightly less-square rigger launched into the age of the Citroën DS and Porsche 356; even the Triumph TR2 of the time making cutaway doors look less archaic.  The TD obviously couldn’t be made to look modern and the facelift it gained to bridge the gap between the square riggers and the sleek MGA was a quick job, essentially grafting the streamlining techniques of the 1930s to the once upright front, the headlamps now fared-into the wings, the same expedient Morgan had that same year been forced to adopt when Lucas advised there would no longer produce the separate housings; without the demand from MG, the economics of scale to maintain the product just in the low volume Morgan would absorb, no longer existed.  Mechanically, so little-changed was the TF that it could have be thought the TD Mark II had the appearance not so differed.  Visually refined with a sloping radiator grille that for the first time concealed a separate radiator, the bonnet now sloped forward, something achieved by lowering the radiator housing by three and a half inches (90 mm) in relation to the top of the scuttle, the view from the screen that of a Hurricane compared to the Spitfire-like TD.  The front wings with the now partially integrated headlamps were themselves fared into the bonnet sides in conventional streamlining style while the rear end gained modifications to the fuel tank and spare wheel mounting which resulted in a neater finish.  In a nod to tradition, perhaps to distract from other changes, the revised facia panel re-gained the octagonal instrumentation of the pre-war years, a nostalgic touch very well received, as was the return of the option of wire-wheels. 

1955 MG TF 1500.

The TF in 1953 was released using the faithful 1250 cm³ XPAG engine which dated back to the TB Midget in 1939 and there were many who hoped for and expected more.  Whatever aerodynamic improvement the streamlining had delivered, the TF was still barely able to top 80 mph (130 km/h) while the Triumph TR2 tempted many with the lure of the then rare “ton”: 100 mph (160 km/h).  It was still an appealing drive with fine road-holding and handling but was, by any standards, sluggish.  The factory were well aware of this and discussed exotic solutions such as aluminum components to improve the power to weight ratio but it didn’t take much thought to works out the solution was that the Americans had taught: a bigger engine with more power.  In mid 1954, the TF 1500 was released, using a 1466 cm³ (89 cubic inch), big-bore version of the XPAG, now designated XPEG, power increased to a more useful 63 horsepower.  While it didn’t permit the TF to match the pace of the TR2 or other competition, almost 90 mph (145 km/h) was now possible and the XPEG did stimulate demand, almost all the 3,400 TF 1500s shipped to the US.

MGA (1955-1962, 101,181 built)

MG Factory Competition Team with three MGAs (EX 182), Le Mans, 1955.

The TF was the end of MG’s square-rigger era, the introduction in 1955 of the MGA both long awaited and much overdue.  Neither mechanically nor stylistically was it ground-breaking and even during its lifetime would come to be thought old fashioned but at the time of release the sensuous, flowing lines were much admired and in the decades since, appreciation has increased, the MGA today a desirable classic.  It was powered by a 1489 cm³ (91 cubic inch) version of the corporate 'B' series engine and as a design exercise had actually been finalized some two years before it was introduced and slated to replace the TD but corporate politics prevailed.  By 1955, it had been intended to announce the MGA and use three pre-release cars (code-named EX 182) to contest the Le Mans 24 hour race in June.  That was thwarted by delays in the supply of parts so the three were forced to compete as prototypes rather than in the production class for which they'd been prepared.  Against the more formidable competition of pure race cars, success was unlikely but reliability was proved, one finishing an outright twelfth and the team finished a creditable fifth and sixth in their class although everything was overshadowed by the horrific crash that year which killed eighty-four, one of the MGs involved in the aftermath of the disaster.  Encouraged, three were entered in September’s RAC Tourist Trophy in Ulster, the fifth round of the FIA World Sports Car Championship, two with experimental double overhead camshaft (DOHC) engines, a configuration which later and unhappily would figure in MGA history.

1957 MGA 1500 Roadster.

First shown at the 1955 Frankfurt Motor Show, the MGA 1500 was an immediate success; some 60,000 built between 1955-1959, the great bulk of which were exported, the US again the most popular destination.  In 1956, the roadster was augmented by a fixed head coupé (FHC) which, in a sign of the times, included many of the refinements saloon buyers had come to expect including wind-up windows and lockable door handles which, while appreciated luxuries, did make the FHC about 100 lb (45 KG) heavier so acceleration suffered a little but, such were the vagaries of aerodynamics that top speed increased a little, a well tuned FHC able to attain the magic ton which just eluded the roadster, the owners of which turned to the multitude of tuners if they wanted more.

1957 MGA 1500 FHC.

Having earlier boosted the 1500 from 68 to 72 horsepower, the factory in 1959 again gave owners more, the engine enlarged to 1588 cm³ (97 cubic inch), the new model named MGA 1600, the additional 6 horsepower and the more relevant 17% increase in torque meaning the “ton” was now topped by all models and there was a dramatic improvement in braking, vastly superior (and really overdue) discs fitted at front.  Revisions to the suspension were part of normal product development but what was much appreciated on the roadster were the Perspex siding side windows which now sound primitive but were quite an improvement on the celluloid flaps used on the 1500.  In 1961, for the MGA’s swansong, capacity was again enlarged, this time to 1622 cm³ (99 cubic inch), additional internal changes boosting power to 90 horsepower, top speed now a heady 106 mph (170 km/h).  To mark the change, the factory designated the 1622-equipped cars the MGA Mark II, production of which totaled 8,198 roadsters and 521 FHCs.

MGA Twin Cam (1958-1960, 2111 built).

1959 MGA Twin Cam Roadster.

In the English way of things, the most famous and celebrated of the MGAs is the least successful and the one at the time damned as a failure.  The first MG since the OHC PB in 1936 not to use an OHV engine, the DOHC Twin Cam used an engine not fitted to any other car and in that sense of uniqueness ranks with the Triumph Stag in the annals of British engineering failures although MGs problems were at least (sort of) excusable given the analytical tools of the time and, as ultimately transpired, easily fixable, unlike Triumph’s unfortunate V8.  Although not used in the production MGA Twin Cam until 1958, the DOHC engine had enjoyed a long development, the basic design completed in 1954 and two prototype versions were in 1955 fielded for the RAC Tourist Trophy in Ulster and although not successful, the factory wasn’t deterred, refining the concept and using them to set world speed records in various classes in 1956 & 1957.  Critically however, most development work was in high-speed competition rather than the conditions under which most motorists operate their cars on public roads.  Using the 1588 cm³ block, the DOHC “B” series was in the classic mold of small 1950s high-performance engines: an aluminum cross-flow cylinder head with twin overhead camshafts operating valves angled at 80^o in hemispherical combustion chambers with a high compression ratio.  Twin 1 ¾ SU carburetors provided the induction while on the opposing side, an imposing exhaust manifold boasted separate downpipes for each cylinder.  The impressive specification yielded a healthy 108 bhp @ 6700 rpm and top speed was rated at 113 mph (180 km/h), testers reporting sparkling acceleration at all but the lowest speeds.  Cognizant of the pace, the factory fitted disc brakes on all four wheels and this time, wire wheels weren’t even optional, the required Dunlop Road Speed tyres suitable only for the ventilated Dunlop centre-lock disc wheels.  Radically different though it was under the skin, there were few visual differences to distinguish the Twin Cam from its more mundane cousins, an approach Mercedes-Benz would later adopt for its 300SEL 6.3 and 450SEL 6.9 Q-ships.  Only the purposeful wheels, discreet Twin Cam badges and some details changes to the interior (including a tachometer and speedometer that accommodated the higher limits) provided the external visual clues.

1959 MG Twin Cam FHC.

Like the Stag, the Twin Cam attracted praise upon release and, like the Stag, the reliability issues soon surfaced.  Reports emerged first of excessive oil consumption which fouled spark plugs and the factory experimented with several variations of piston rings before settling on the replacement of the top chrome ring with one of cast iron and a scraper with an expansion ring; these changes resulted in normal oil consumption.  What was not solved until the Twin Cam had been discontinued was what ruined its reputation and doomed the engine: the propensity to burn holes in the top of pistons #3 or #4.  Applying conventional wisdom, the factory first retarded the ignition timing, then, assuming owners were, contrary to operating instructions, using cheaper, lower octane petrol, lowered the compression ratio from 9.9:1 to 8.3:1, both changes reducing power in the quest for reliability, a trade-off well-known to engineers.  The sacrifice however failed to solve the problem and pistons continue to fail.  What baffled the engineers was they were unable to replicate the issue in their tests, even under sustained and extreme loadings.  Their tests however, while imposing demands beyond what any road car would be subjected to, were performed usually in a workshop, on a static test-bed.  By mid 1959, the factory gave up and the Twin Cam was withdrawn from sale, the engineers not discovering the cause until 1960 and those findings they chose not to publicize.  Later, amateurs would trace the problem to resonant vibration which, under conditions encountered when actually driving (as opposed to what happens under extreme load on a test-bed), at certain engine speeds, the SU carburetors would suffer foaming of the fuel in the float chamber which caused the fuel/air mixture to run lean, greatly increasing the heat in the combustion chamber causing the aluminum pistons to begin to melt.  The solution was no more complex than the insertion of flexible, vibration isolating mounts between the intake manifold and carburetors.  It was a cheap and simple fix.

1959 MGA Twin Cam FHC.

In 1960, MGs engineers had reached the same conclusion.  After disassembling several engines, they noted the balance of the production units was well below the levels of precision they had specified as a result of testing the prototypes, the production engines exhibiting two periods of natural vibration around 3200 and 5600 rpm.  With the stock gearing which most Twin Cams used, 3200 rpm coincided with what were then typical highway cruising speeds.  So, they returned to the test bed and, instead of pushing the engines beyond their limit, instead ran them to the point of vibration and found the float on the rear carburetor would hang on its spindle and not drop, inducing a lean mixture which burned holes in either #3 or #4 piston.  In minutes they improvised a flexible mounting using nothing more exotic than some thin sheet-rubber but the solution came too late, the discontinued Twin Cam’s reputation too sullied for a revival.  A decade on, much the same tale would be told of Norton’s 750 Combat.

1962 MGA 1600 Mark II “De luxe” Roadster.

So only 2,111 Twin Cams were sold, 1,801 of which were roadsters.  Making the best of a bad situation, the factory used the residual stockpile of Twin Cam bits and pieces (other than the engine) and created some up-graded models often referred to as the “De Luxe” which, although MG never formerly applied the designation, shameless dealers advertised them as the “Deluxe”, "De Luxe” or De-Luxe”.  Production was limited by the availability of parts and only 82 1600s were built, along with 313 of the more desirable Mk II 1622.  Except for the Dunlop wheels and four wheel disc brakes, there’s no commonality in the specification, some using a genuine Twin Cam chassis, some with the “hybrid” competition shell and a mix of other options while many were essentially standard MGAs differing only in the wheels and brakes.  Because of the rarity and upgraded specification, the “De luxe” models are now second only to the Twin Cam in desirability.

The other MGA: Lindsay Lohan at MGA Entertainment's "Bratz", 2003 Teen Choice Awards,  Universal Amphitheatre, Universal City, California.