Isotta Fraschini 8A

The sign of power

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Introduction

"What was the gesture made by Fielding? One hand bent on his heart, the other stretched to welcome the car arrival, as if he had to say: may I introduce you to the money? Have you already met it?" That was mentioned by Martin Amis, the English writer of the novel "Money". It doesn't matter what kind of the car was mentioned in the book, either in what special situation were to be found the protagonists" What is important it is the concept expressed in these few words: the car becomes a power symbol and its appearance on the stage is sufficient to make the man in the street understood all the distance that exists between the reality he lives and the golden one, held among the plates. It doesn't matter the body, it doesn't matter how many cylinders the engine has, either the power produced, because the technology becomes less important than the magic name able to evoke the power distinction. In our case this name is Isotta Fraschini "8A" type.

Men or Gods

Who is in a position to describe the soul of a car better than who has built it? "Just from the beginning" a promotional brochure, edited in the 20's, told about Isotta Fraschini," we have always set ourselves a target: to build a luxury car. First of all we have taken on, and above all, the task of constructing the best car as far as possible for quality and mechanics perfection. To make such a programme it was necessary to be subject to significant sacrifices, to which we agreed deliberately and courageously. We have never sacrificed quality to quantity, but we have always been worried about the use of the best materials, our workers have been selected scrupulously and severely and the tests on our engines and chassis were of an absolutely exceptional strictness. Today the result of our efforts is represented by our chassis 8A, 50/100 hp, with an 8 cylinders in line engine". On next page, under the discreet title "Some of our customers' names", you can find diligently lined up three "His Majesty", seven "His Royal Highness", twenty-three "His Excellency" and eighteen different titles. To have a space dimension to this phenomenon, it's sufficient to lay your eyes on the place of origin of such lineage: Europe is expected and still more Italy, but not certainly Egypt, Abyssinia, Japan, India, Argentina and eastern principalities that nowadays we shouldn't know even where to place on map. However, this list is nothing in comparison with the appendix to the Angelo Tito Anselmi's volume "Isotta Fraschini" published in 1977. There you can find a detailed list of all chassis "Type 8", with the relative name of the first owner: in the US where they were living an age of crazy wealth, Isotta Fraschini made a hit with bankers, business men and stars of Hollywood. At the end we have to name someone: Rodolfo Guglielmi, the man who became an everlasting myth under Rodolfo Valentino pseudonym, made him construct a Coupe de Ville, covered with leopard skin and inlaid with gold, followed by a second car even more sumptuous one. He had never seen the third car because the myth passed away in 1927, before they could deliver it to him. There was another 8A belonging to Douglas Fairbanks, other famous actor who inherited the palm of the most handsome left by Rodolfo Valentino, just as his colleague Marion Davies, the lover of Randolph Hearst, the American press magnate. Clara Bow, her rival on the great screens, ordered the exact copy of it, but with handles and footboards in gold... Of course, in Europe tastes were a bit more sober: the Milan inhabitants offered to Pope Pio XI the 8ASS (a version powered with high compressed pistons) with the body built by Cesare Sala. Benito Mussolini ordered an Internal Drive, and if he owned an Isotta, he who had inspired Fascism couldn't help of it i.e. Gabriele D'Annunzio, the poet, who although old, toothless and being perennially broke, hadn't lost his attraction for ladies, knick-knacks and fast sports cars. The ex-triumvir too, the hero of trans-ocean flights and future governor of Libya, Italo Balbo, allowed himself to get a good two "Type 8"cars. But now it's a laughing matter, because not only the fascist "camerata" liked the qualities of Isotta Fraschini but the communist "tovarish" who lived in that secluded country named "URSS" with the abolished private property and every privilege or almost all of them. Lenin preferred Rolls ( it seemed he had six Rolls), but his successor too had to appreciate Isotta Fraschini cars, given that some cars "Type 8" were sold in Moscow about half the Twenties.

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The Engine

By the end of the First World War mechanical industry was faced by the problems of industrial reorganization, which could be expressed in one and only question: what's to be produced? Isotta Fraschini had overcome the wartime churning out from its workshops: Lorries, airplane engines and propellers which had pushed famous M.A.S. up to Buccari Bay, a base of the Austrian navy's in the Adriatic Sea, for the historic joke. After the war the Company didn't drop these sectors, but it however went back to its raison d'être that had brought to its setting up in 1900: "SA Fabbrica Automobili Isotta Fraschini". The involved cars were above all the luxury ones, where the Company had deserved a sound reputation, increasing its market overseas thanks to successful results in races. Looking at what was happened in the past what was happening in the US, the technical director of the Company, Giustino Cattaneo, and his colleagues realised that the way to go passed across a major splitting up of the engines. Most of the engines followed the layout of four cylinders in line, but even before the war the six-cylinder rush, always in line, burst out. Isotta Fraschini had the chance to go further on with a structure never before mass-produced: an eight-cylinder engine. The "Tipo 8" legend was born. It was obtained the huge power of 5898 cc with 85 mm bore and 130 mm stroke. Once settled the main sizes, they didn't skimp on materials: the cylinder block was cast in a unitary element when many constructors still produced engines joining more blocks together. Sump and pistons were in aluminium alloy, while the crankshaft was forged in chrome-nickel steel. By facing up to the construction of powerful engines for aircrafts, Isotta Fraschini had already a good knowledge of the construction for an engine with overhead cams and knew how many advantages could be offered by such a system. However, to favour soundproofing and shifting flexibility, designers went back to a more conventional layout with rods and rocker arms, driven by a camshaft inserted in the engine block. However, the two valves were overhead and not on the sides like in many contemporaneous engines. Lubrication was assured by the gear pump and water circulation by the centrifugal pump. Fuel feed was supplied by two Zenith carburettors, controlled and synchronized between them by a barrel mechanism, while the proper flow of petrol was guaranteed by a vacuum float chamber, installed before the spark arrester. The new driving unit produced 90 hp at 2400-2500 rpm. The high torque allowed the adoption of a three speed gearbox plus reverse with lever in the centre; the gear box was connected to the engine by a clutch with multiple-disks. The rear axle in pressed steel was activated by a propeller shaft with universal joints. The whole was assembled on a chassis made by two strong side members and cross members, featured by a 3700 mm wheel base and 1410 mm track. The chassis flexibility was given by transverse springs and Watson springs, which guaranteed a high comfort to passengers. Drum brakes were fitted on the four wheels instead of the rear ones only, as they were used in those years: that was under the Isotta Fraschini's licence dated from 1910, a source of pride to the Company. On the other hand it was more than necessary to have a good braking system, given the 1350 kg weight for the chassis-engine unit only. Then, in addition to that remarkable mass it had to be added the body, which Isotta Fraschini didn't care of. It was natural for a car of such a quality. It was on the customer's option to choose the coachbuilder and upholstery according to his own taste. Commercialized as "Tipo 50 HP", the new car was produced in 600 units, gaining fame and laying the foundations for a further breakthrough, made by the subsequent "Tipo 8A". At Monterosa Street, the Isotta Fraschini's historical headquarter, they realised that, given the good market conditions they had an opportunity to exaggerate. First changes concerned the engine by increasing the bore to 95 mm so as to reach the huge capacity of 7370 cc. The peak state was steady on 2500 rpm, but power increased to 115 hp. The ignition made no more use of the high tension magneto, but of Bosch system with magneto-dynamo, while in 1928 they would have used an updated layout with a distributor-dynamo. The starter, which was acting on the flywheel ring, produced 1.2 hp, but in case of breakdown it was always possible to use the traditional handle. Today that quality is scarcely appreciated, in consideration of the chaos concentrated on the modern car bonnets, however this engine looks fine too, both for the aspect "Art Deco" and the extreme order under which the auxiliary parts and wirings are fitted on. To meet the needs of some demanding customers, the Isotta Fraschini factory had also prepared the engines 8AS and 8ASS, featured by a higher compression engine ratio, greater valves and inserted exhaust manifold. These units were capable to develop around 155-160 hp at 2800 r pm approximately. To favour the features of the new engine, transmission was revised by using a top speed in third gear thanks to the generous torque, while a range of different crown wheels and pinions was offered to customers, to be chosen on the basis of the final weight of the car. The policy of the options enlargement was extended to the chassis too, making a shorter wheelbase at 3400 mm, presumably more suitable for sports versions, and one wheelbase defined as standard at 3700 mm. The side members in pressed still, straight for Tipo 8, were now diverging towards the rear axle to improve torsion strength and offer a larger supporting basis for the bodies. Another innovation was made by the vacuum servo booster that could ease the mechanic system. Other slight changes concerned the style of radiator, now more rounded and fitted with the new IF rectangular "marque", with white letters on a bleu field, in the place of the old red circle. Such a large and well powered chassis offered the coach builders the possibility of indulging their fancy on about a three meter length. Castagna, Farina Plants, Carrozzeria Italiana Cesare Sala, Fleetwood, Lance Field, Hooper, Ramseier, Lotti, only to mention some names of the coach builders who had a chance to work on the chassis Tipo 8A. It was not so rare that their creations were the winners in the elegance contests, very fashionable in those years, publicizing themselves and also the Isotta Fraschini, according to a virtuous circle attracting more and more customers to the Italian "marque". Some of those cars were built under Weiman's know how that provided the use of "Fabrikoid" (Fabric leather), an imitation leather, on wooden frames. Fabrikoid was made more resistant by the employ of horsehair and oilskin. This system had the advantage of minimizing the weight of the body, but it was very complicated and after an early success in the Twenties, was later on abandoned. "Tipo 8A" models were about 900 units in all, produced from 1924 to 1932: an undisputable success for a car that was so expensive. In 1929 they said it cost 140,000 liras (about 150,000 euros) for the chassis only. The 4-6 seat Torpedo Touring cost 170,000 liras, the Grand Sport Torpedo 175,000, the six-seat Limousine Coupe 180,000 liras.

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Sunset Boulevard

Among the Hollywood stars who owned the Tipo 8A there was also Gloria Swanson, the queen of silent movies and Jospeph Kennedy's lover, John F. Kennedy's father, who had by that time some substantial interests in the cinema industry. By a twist of fate, Swanson met another Isotta Fraschini in her life: the luxurious 8A used in the famous "Sunset Boulevard". Reality and Fiction got mixed in the plot of that film directed by Billy Wilder: in that film, William Holden played the role of a penniless writer who escaped from creditors by finding refuge in the luxurious mansion of an old star of silent screen, Norma Desmond (Gloria Swanson). Taken on as a proof reader of the script that should mark the planned comeback of the actress to the great screen, the handsome young man found himself captured in an absurd and, from time to time, ridiculous trap: Norma Desmond lived among the ruins of her celebrity, refusing oblivion and the old age. The remainders of her myth included an adoring director who was reduced to being her butler and chauffeur (role performed by Eric von Stroheim, who was a real director) a sumptuous villa and an impressive Isotta-Fraschini 8A Landaulet de Ville, bodied by Castagna. That car (chassis 1636) is today kept in the Automobile Museum "Carlo Biscaretti di Ruffia" in Turin. Its story remains a mystery for the most part of it: as for the above mentioned volume of Angelo Tito Anselmi, it appears that the car was produced in 1929, but nothing has been said about the first owner. They presume it was exported to the U.S. and disappeared, perhaps delivered to some customers, perhaps left unsold in the 1929 dramatic crisis. Then in 1950 it reappeared on the film setting, duly shining and found again who knows where! After cinematographic interlude, still oblivion, till 1972, when three gentlemen of Turin found it in Los Angeles, at a car rental, and offered to buy it on the Museum behalf. The transaction was successful and in April 1972 the car came into Genoa port in a container. The three gentlemen dealt too with its restoration, at the end of which the car was actually taken by the museum. It's an object striking for its stage effects and today still causes the observer a feeling of respect and awe. The configuration of the Landaulet de Ville left the driver uncovered and offered a luxurious cab to protect passengers. In case of a lovely sunny day, a canvas hood allowed to lower the soft top in correspondence with the rear small sofa, showing the august passengers to curious onlookers. The frontal was dominated by the big radiator and the round headlights: the silver parabolic reflector was combined with one powerful lamp and a second one with a brownout lightening for built-up areas. The headlamps were connected, on that example, by a slim horizontal bar that repeated the "IF" brand (marque) on the centre. On the radiator there was a little winged statue outstretched forward: differently from its main rivals, Rolls Royce and Hispano Suiza, the Isotta Fraschini hadn't a special shape for the radiator cap. The mudguards were opening wide from the basis of the frame like the waves raised by a powerful motorboat. The long and massive bonnet stood out from the body side of the car: a bonnet, which was marked by the thick side slits for the warm air outlet, partially covered by the spare wheels, secured on the sides, and ending up in a slightly inclined windscreen which was divided into two parts with each part adjustable to regulate the air flow towards the driver. The windscreen was only present on the right part, in correspondence with driver's seat. Behind the driver there was the passenger's cab, featured by wide glass surfaces framed by glittering chromium plated profiles. The low part of the car side was characterized by the evolutions of the mudguards softly coming down towards the basis of the frame to make up the wide access footboards, where the tool kit was housed, and then even the rear mudguards. The strong spoke wheels, secured by the big chromium plated hubs, were fitted with tires 33x6.75 and contributed to get an impressive structure. A double, thin white border interrupted the bleu color of the body, not far below the waist line and in the middle of the door for passengers, there were two elegant letters: ND, Norma Desmond. Twin bumpers, on the rear side, highlighted the Californian number plate. The body tail vanished like a bath basin, while a narrow rear window appeared on the canvas hood. The boot didn't exist, but in case of need there were hooks and supports to secure a large trunk, while on the right you could see the cap of the 110 liter tank, housed behind the differential. The here and there driver's cockpit was featured by the long bench in black leather. The dashboard was in elegant mahogany having the instrument panel in the middle, with round indicators on white field, while the switches were concentrated on a round control panel. This panel included the key to unblock the magneto contact, a warning lighting, on top, and a switch to put on current to magneto, lights and horn. On the floor panel there was the long lever of the speed change, next to it the hand brake. The four spoke wheel was of big diameter, on the pin of which there were some hand levers for the engine control: the right lever governed the carburetor opening, the one positioned at twelve hours regulated the spark advance and the last one, on the left, controlled the mixture strength, And then there was the treasure room: click and the door was opened showing a soft and muffled world. Outside, traffic and the powerful engine noise with dust and sometimes water. Inside, it could be heard the soft tone of a conversation. No exaggeration, at least on that model of car, but a moderate elegance, with the internal frames of the windows in mahogany, enriched here and there with snakeskin inserts. Walls and sofas were in a pink cloth-lined, while the floor was covered with a soft water-green fitted carpet. The rear sofa had two comfortable seats separated by an arm rest, but the space could be increased with the use of folding seats folded up against the partition: two comfortable armchairs in the drive direction. Before the passengers, mounted on the partition, there was a small piece of furniture with leather inserts, it could be used as an object holder, and in the middle you could see a closet protected by a small door. Above, there were some sliding glasses which permitted to communicate with the driver. From the pink cloth covering the doors were obtained some pockets for document holder, but on the top, with the insertion in mahogany, there were big chromium plated winders for windows. Not only were these last lowering but also the ones corresponding to the rear passengers. Thus a lady could address to an astonished passer-by without pushing herself forward, towards the doors. "Excuse me, my good man…" the man's eyes flew and lay on one end to the other, to admire everything, but his thoughts noted a hole in that image, as if it was missing something important. It's the fantasy which reconstructed that tear on the canvas: a man wearing black boots, a uniform and a funny peaked cap which enclosed the head with a puff. The canvas hood lowered and two persons let themselves be admired while the car was passing: a lady with a hat-veil lowered on her face. The deception net didn't let a judgment pass through it: perhaps the lady was no longer a beautiful woman, but what appeared through the veil seemed to be charming. Beside her a handsome young man, looking slightly embarrassed like he who no longer knew the way taken by his life. Events went beyond him and he followed them anxiously, hoping to reach them, but it's a mere illusion because all Isotta Fraschini's horsepower wouldn't be sufficient to regain all the lost ground.

The good time is over

Among all the documents which I looked through anxiously for the research, an old picture, a bit dimmed by time, remained impressed in my memory: a huge showroom with high vaults and raised arcades overlooking the scene. Walls were dominated by marble and small ornaments which the eyes could scarcely see in all its refinement. It wasn't gold, but it looked like it, maybe owing to that shining and the feeling of a quiet solidity which offered to onlookers. That showroom housed the exhibition of the shining cars "Isotta Fraschini". The caption informed us that it dealt with the "The motor show of custom-built cars" held at the Hotel Commodore in New York in December 1929. The financial crash, on the black Thursday that left the U.S. on the rocks, was dated from the 24th October of the same year. And yet people crowded that event as they would uselessly try to cling to that dream which didn't exist any longer, coming into nothing like the share values. The good time was over and not only for people. It was just in 1929 that Isotta Fraschini built the Tipo 8B: the dealers, in particular the American ones, required to the Company Direction to deal with the Tipo 8A, too aged with respect to a fierier and fierier competition. Owing to an internal financial crisis, the attempt was modest and the result the same as well: the engine with the same capacity was developed to 160 hp. The clutch was replaced by a dry single plate type, together with a new gearbox of Wilson type, always three-gear + reverse. They produced only about a hundred number from 1930-1931: for certain, the collapse of the major export market didn't help, but even without that event, probably, things wouldn't have gone so differently. In 1927, 20.8% of the Company turnover came from cars, but in 1929 such share came down to 13%: the remaining came from the construction of Lorries, marine, airplane and static engines. In 1932 they decided to eliminate the car department definitely. It was a decision with some regrets, because since 1936 Giuseppe Merosi had been working on the project for a new car. Nothing came off it, but in 1946 when the Company had already gone into the Caproni's orbit, there was an attempt to go back, on a great scale, to the 8C Monterosa, a chassis with the rear engine designed by Fabio Rapi and Alessandro Baj. The Monterosa was only built in six examples, bodied by Zagato, Touring and Boneschi in different configurations: notwithstanding the modern and elegant bodies, the project had never taken off and in 1949 the Fim (Fund for Italian Industry financing) put an end to every further attempt, causing the Company winding-up. The last attempt to the market return went back to 1993, when the Rayton Fissore Company acquired the rights on the brand name from the Mecfin to produce a new car at the former plants "Oto Breda Sud" in Gioia Tauro. Just for a change, another to get nowhere. There are still museums and private collectors, who thanks to their passion go on with the revival of this one and other myths of motor racing. Unfortunately, the Sunset Boulevard is a one-way street, but the leaves fallen from its trees never disappear but remain on the ground with their bright colors of autumn helping us to retain a good memory of them.

Stefano Costantino

We wish to thank the Automobile Museum "Carlo Biscaretti di Ruffia" for having put the archive at our disposal and permitted to take photographs of its valuable example of the Isotta Fraschni.

• Angelo Tito Anselmi, "Isotta Fraschini", Milano, 1977.
• Isotta Fraschini, "Manuale di Uso e Manutenzione Tipo 8A", Milano, 1929.
• Isotta Fraschini, "Coi migliori omaggi della Fabbrica Automobili Isotta Fraschini", depliant pubblicitario risalente agli anni '20.
• Vittorio Fano, "L'italiana delle regine", in "La Manovella", Ottobre 1991.
• Angelo Tito Anselmi, "Aspettando la resurrezione", in "Ruoteclassiche", Gennaio 1994.
• Alfredo Albertini, "Pretendevano il trono", in "Ruoteclassiche", Ottobre 1996.
• Gino Rancati, "Farina del suo sacco", in "Ruoteclassiche", Settembre 1996.
• Geoffrey Perret, "Kennedy", Random House, New York, 2001.
• Martin Amis, "Money", Giulio Einaudi Editore, Torino, 1999.

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