SAE R-196-1998 The Golden Age of the American Racing Car (Second Edition To Purchase Call 1-800-854-7179 USA Canada or 303-397-7956 Worldwide).pdf

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1、The Golden Age of the American Racing Car Second Edition New edition of the best-selling 1966 classic by one of the worlds preeminent automotive historians Griffith BorgesonThe Golden Age of the American Racing Car Second Edition by Griffith Borgeson Society of Automotive Engineers, Inc. Warrendale,

2、 Pa. Copyright 1998 Society of Automotive Engineers, Inc. eISBN: 978-0-7680-4683-0Library of Congress Cataloging-in-Publication Data Borgeson, Griffith. The golden age of the American racing car / by Griffith Borgeson. - 2nd ed. p. cm. Includes bibliographical references (p. ) and index. ISBN 0-7680

3、-0023-8 (hardcover) 1. Automobiles, Racing-United States-History. I. Title. TL236.B65 1997 629.2880973-dc21 97-27778 CIP Copyright 1998 Society of Automotive Engineers, Inc. 400 Commonwealth Drive Warrendale, PA 15096-0001 U.S.A. Phone: (412) 776-4841; Fax: (412) 776-5760 http:/www.sae.org ISBN 0-76

4、80-0023-8 All rights reserved. Printed in the United States of America. Permission to photocopy for internal or personal use, or the internal or personal use of specific clients, is granted by SAE for libraries and other users registered with the Copyright Clearance Center (CCC), provided that the b

5、ase fee of $.50 per page is paid directly to CCC, 222 Rosewood Dr., Danvers, MA 01923. Special requests should be addressed to the SAE Publications Group. 0-7680-0023-8/98 $.50. SAE Order No. R-196The Hero We do not knowwe can but deem, And he is loyalest and best Who takes the light full on his bre

6、ast And follows it throughout the dream. AMBROSE BIERCE All men dream; but not equally. Those who dream by night in the dusty recesses of their minds, wake in the day to find that it is vanity; but the dreamers of the day are dangerous men, for they act their dream with open eyes, to make it possibl

7、e. T.E. LAWRENCE iiiFOR JASMINE, My Wife And from both of us to MICHAEL ROSEN and FREDERICK A. USHER, Master Historical Researchers, Incomparable Friends vForeword One of the more profound and least understood aspects of the human mind is imagina- tion, the faculty that gives rise to the creative id

8、eas behind all forms of art, which in turn bring beauty and color into life. Thus the classical arts such as music, painting, sculpture and drama are recognized as a vital part of our culture. With the scientific developments of the 19th and 20th Centuries, a new form of art has emerged which, for l

9、ack of a more encompassing name, is referred to as “mechanical“ art. It is an art which is expressed in the creation of functioning physical devices and machines. First manifest in static structures such as buildings and bridges, it now appears in such dynamic devices as the automobile and airplane.

10、 Potentially, it is a supreme form of art utilizing, as it does, not only the imaginative/aesthetic elements of the mind but its intellectual/analytical capabilities as well, the latter introducing the constraints and disciplines of the mathematical sciences involved. The artist, in this case the cr

11、eative “mechanical“ designer, starts by imagining a design solution that satisfies his objectives in form and function. If he is a Harry Miller or an Igor Sikorsky, he may feel that his unique conceptual ideas come to him from some higher external source tapped through his imagination via a process

12、akin to meditation. Other equally creative designers believe their inspirations are totally internal. No matter; in either case the road from concept to completion is long and arduous. Holding fast to his initial vision of form and beauty he must now satisfy the demands of materials and structures,

13、masses and inertias, tooling and processing, dimensional accuracy, detailing, and the frailties of those he must enlist and direct to bring his concept to fruition. The process is so complex that the achieve- ment of the ideal in all respects is impossible and the great engineering artists achieve a

14、 balance of compromises as exemplified by that of the well-tempered harpsichord scale. Without detracting from the meaning and beauty of the classical arts, “mechanical“ art can add new dimensions to the human experience, such as physical mobility, far exceed- ing those of Greek mythology. At the de

15、epest level this book is concerned with “the beauty and passion of the machine“ the machine as an art form, a lifetime preoccupation of the author. At another level, perhaps almost as deep, is his intense interest in the historical development of race car technology, the creative processes, and the

16、men and the mentalities involved. The book is implemented at a third level, where the author has focused in on the specific theme of American racing car design during the first third of the 20th Centurya period in which it came of age under the dominance of such extraordinarily gifted individuals as

17、 the Duesenberg and Chevrolet brothers, Harry Miller, and Leo Goossen. This specific theme is unique; no other writer has tackled this period with such breadth and thoroughness, literally retrieving it from historical extinction. The books authenticity stems from the authors use of first-hand source

18、s, participants in the Golden Age. Over a period of years he was able to make contact with more than a viiThe Golden Age of the American Racing Car hundred people involved in that era who retained vivid memories of it. Their reminis- cences have been exhaustively cross-checked to resolve anomalies w

19、hile relentlessly seeking the truth. As a history, the book is beyond challenge, since the primary sources are no longer with us. This second edition is a visual improvement over the original by the addition of color photos of historic cars which have been restored in relatively recent years. Some c

20、orrections and improvements to the text have been made which ensures that, like old wine, it continues to improve with age. In the final analysis, books are but a reflection of the qualities of the author. It is interest- ing to note that, in this instance, parallels exist between the author and the

21、 people he is writing about. As a writer, Borgeson brings to his creation the imagination, emotions, and thoroughness of the great designer. He aspires in his own life and in his work for qualities of form and beauty. In a sense, this book is by an artist writing about artists. The final compelling

22、aspect of this book is its comprehensive setting in the motor racing world. You are exposed to the engineering sources, the race courses, the designers, builders, drivers, and events. There are activities that involve the grand sweep of human experience and motor racing is one of them. There are man

23、y ultimates in racing engineering perfection, extraordinary matching of man and machine, split-second driver decision-making and response, and the absolute requirement of concentration over long periods of time. Nor can anyone deny the risks and courage involved. Fortunately there are people who acc

24、ept these challenges. Bill Milliken March 1997 viiiPreface to the Second Edition There was no Preface to the original edition of The Golden Age of the American Racing Car, published in 1966. The action began with the first line of Chapter 1 and kept going. The entire text was written in Aix-en-Prove

25、nce in Southern France in an archive-packed room which looked out upon the pure, early Gothic spire of Saint Jean de Malte, an ancient base of the military order of the Knights of Malta. The vibes were all that a writer about men of action and finely architected machinery could ask for. The tapestry

26、 of the Golden Age of my cast of characters extended that far and well beyond. It was there, while writing this book, that my friendship was born with another Provenal by adoption, Roland Bugatti. It was from his lips and memory that I learned, in intimate detail, about the Molsheim sojourn of “my“

27、Packard Cable front-drive Millers. It was among Rolands effects, after his death in 1977, that I discovered the rod, piston, and wristpin which had been inexplicably missing when I acquired the two cars from the Bugatti factory in 1958, after years of haggling. One gradually learns that all things a

28、re related in time, space, and elsewhere. Countless people, outstanding protectors of the patrimony of the Golden Age among them, have told me of the profound influence which the reading of the first edition had on their ideas, values, and even their lives. I feel that few writers ever have had the

29、fulfilling moral recompense which this work already has brought me. With this volume that is in your hands, and with the ideal publisher behind it, my cup truly overflows. The first edi- tion was a passport to many infinitely rewarding friendships. I dare to hope that this sec- ond edition may be th

30、e same. A final thought, on the occasion of seeing this volume become a reality: Bierce and Lawrence were dead right. Griffith Borgeson March 1997 ixTable of Contents Part OneThe Passion of the Machine 1 1 The Passion of the Machine 3 2 The Cradle of Speed. 7 3 The Courses 15 4 The Sources 27 5 Gold

31、, Balls, and Glory 43 Part TwoMasters of the Machine 53 6 Frederic Samuel Duesenberg 55 7 Louis Joseph Chevrolet 61 8 Harry Arminius Miller 69 9 Leo William Goossen 77 10 Fred Offenhauser 87 Part ThreeThe Beginnings 95 11 Duesenberg 97 12 Frontenac 113 13 Miller 123 14 Leo GoossenMore Than a Half-Ce

32、ntury of Creativity 137 15 OffenhauserThe Roar of the Thirties and Beyond 141 Part FourFulfillment: The Roaring Twenties 145 16 Duesenberg: The Years of Glory 147 17 Tommy Milton and the Land Speed Record 161 18 When America Won the French Grand Prix. 167 19 Technical Notes 177 20 Frontenac: The Yea

33、rs of Glory 191 21 Technical Notes. 205 22 Miller: The Gospel According to Milton 213 23 The Years of GloryI 217 24 The Years of GloryII 225 25 Technical Notes 237 Part FivePinnacles of the Golden Age. 255 26 Supercharging 257 27 Front-Wheel Drive 267 28 The Lockhart SagaI 285 29 The Lockhart SagaII

34、 295 Part SixProject Time Machine 307 30 The Packard Cable Specials 309 xiThe Golden Age of the American Racing Car Appendices I Bloodlines and Cross-Fertilization of the Miller Family of Engines 317 II American Board Tracks 323 III Winners of Major American Races, 1915-1929 325 IV Records Set by Am

35、erican 91.5-cu.-in. Racing Cars 333 V Engine Specifications 335 VI The Miller 91-cu.-in. Racing Car 339 VII Performance TrendsIndianapolis Winners, 1911-1929 343 VIII Notes on Photo Sources by Frederick A. Usher 345 Bibliography. 351 Index 353 About the Author 367 xiiAcknowledgments Periodical resea

36、rch for the present volume was done mainly in the Detroit Public Library, with the gracious and enthusiastic assistance of James J. Bradley, head of the Automotive History Collection. All too little of the history of American automobile racing ever found its way into print, however, and much of that

37、 which was not eternally lost survived only in the memories of those who had lived that history or had been otherwise close to it. Hence, personal communication and interviews form the body and soul of this book. Among those who deserve credit for the result are: Ronald Barker, Surrey, England Charl

38、es R. Betts, Jr., Yardley, Pennsylvania Al Bloemker, Indianapolis, Indiana Howard Blood, Sarasota, Florida John R. Bond, Newport Beach, California Buck Boudeman, Richland, Michigan W.F. Bradley, Roquebrune-Cap Martin, A.M., France Riley Brett, Los Angeles, California Russ Catlin, Darlington, South C

39、arolina Mrs. Suzanne Chevrolet, Detroit, Michigan John Christy, Hollywood, California Errett Lobban Cord, Reno, Nevada James D. Crank, Redwood City, California Chuck Davis, Flossmor, Illinois S.C.H. Davis, Guildford, England Mark L. Dees, Santa Paula, California Pete De Paolo, San Francisco, Califor

40、nia Dick Doyle, Palmdale, California Mrs. Edith Savage Duray, Twentynine Palms, California Leon Duray, Twentynine Palms, California Reeves Dutton, Los Angeles, California Robert Fabris, Milpitas, California Earl Fancher, Alameda, California Scott Fenn, Inglewood, California Jerry Gebby, Dayton, Ohio

41、 Leo W. Goossen, Los Angeles, California Ben F. Gregory, Kansas City, Missouri Ray Harroun, Indianapolis, Indiana Mrs. Gwenda Hawkes, London, England David Hedrick, Aloha, Oregon Roscoe C. Hoffman, Detroit, Michigan Jerry Houck, Yucaipa, California Peter Hull, Kingsclere, Berks, England xiiiThe Gold

42、en Age of the American Racing Car Jackie Iuri, Avignon, France Bill Kenz, Denver, Colorado Gerald Kirkhoff, Glendale, California Karl Kizer, Indianapolis, Indiana Frank Kurtis, Glendale, California Mrs. Carrie Lockhart, Glendale, California Dick Loynes, Long Beach, California Karl Ludvigsen, London,

43、 England Charles Lytle, Sharon, Pennsylvania Strother MacMinn, Pasadena, California Jean Marcenac, Burbank, California Pierre Marco, Molsheim, France T.A.S.O. Mathieson, Cascais, Portugal Eddie Meyer, Los Angeles, California Louis Meyer, Los Angeles, California David A. Miller, La Mesa, California E

44、ddie Miller, Sr., Culver City, California Mrs. Edna Miller, Los Angeles, California J. Paul Miller, Phoenix, Arizona Ted Miller, New York, New York Tommy Milton. Detroit, Michigan Tommy Milton III, Reading, Pennsylvania Fred E. Moscovics, New York, New York Fred Offenhauser, Los Angeles, California

45、Eddie Offutt, Los Angeles, California Ernie Olson, Sherman Oaks, California Art Pillsbury, Beverly Hills, California Laurence Pomeroy, London, England Proto Tool Company, Los Angeles, California Roy Richter, Bell, California Walter F. Robinson, Jr., Bellevue, Washington Michael Rosen, San Francisco,

46、 California Ed Roy, West Roxbury, Massachusetts Robert M. Rubin, Southampton, New York Walter Sobraske, Los Angeles, California Gordon and Carmen Schroeder, North Hollywood, California W. Frank Sharp, Jacksboro, Tennessee Clay Smith, Long Beach, California Ralph Snoddy, Hawthorne, California Robert

47、De L. Sutherland, Littleton, Colorado Wayne Thoms, Palm Springs, California Bill Tuthill, Daytona, Florida David V. Uihlein, Germantown, Wisconsin Cornelius W. van Ranst, Dearborn, Michigan Zenas Weisel, Los Angeles, California Bill White, Inglewood, California Ted Wilson, San Jose, California Ed Wi

48、nfield, San Francisco, California Joseph G. Wurth, Detroit, Michigan William B. Ziff, Jr., New York, New York xivAcknowledgments PHOTO CREDITS: Credits are given to all photos and figures at the end of the caption, using the following abbreviations: ACP - Arthur C. Pillsbury AG - Alec Giaimo AL - Au

49、tocar, London AS - Art Streib BG - Ben F. Gregory BT - Bill Tuthill CD - Car and Driver ChL - Charles Lytle CL - Carrie Lockhart DB - Dean Batchelor DL - Dick Loynes DW - Dick Wallen EM - Eddie Miller, Sr. EO - Ernie Olson ER - Ed Roth ESD - Edith Savage Duray FAU - Frederick A. Usher FMC - Ford Motor Co. GB - photo by Griffith Borgeson GBC - Griffith Borgeson Collection HB - Howard Blood IMS - Indianapolis Motor Speedway Corp. JB - John R. Bond JDS - J.D. Scheel JG - Jerry Gebby JT - James Talmadge KK - Karl Kizer KL - Karl Ludvigsen LAHE - Los Angeles Herald