Michael Satterfield
TGR Staff
To understand a Lamborghini, you must understand the land that generated
it. You need to think of a tree and examine its roots. And in this case, they
are firmly embedded in the land that, more than any other place in the world,
has an instinctive love for high-class, spirited engines. This is a stretch of
the Po valley that is shaped like the perfect ‘golden triangle’, touching
Sant’Agata, Modena, and Maranello, and it is where the finest cars in the world
are made. It’s a matter of blood, experience, and sensitivity, or perhaps it’s
pure and simple passion. It is no accident that revolutionary concepts in style
and form were spawned here, and they are concepts that elsewhere, even within
enormous companies, were never even imagined.
it. You need to think of a tree and examine its roots. And in this case, they
are firmly embedded in the land that, more than any other place in the world,
has an instinctive love for high-class, spirited engines. This is a stretch of
the Po valley that is shaped like the perfect ‘golden triangle’, touching
Sant’Agata, Modena, and Maranello, and it is where the finest cars in the world
are made. It’s a matter of blood, experience, and sensitivity, or perhaps it’s
pure and simple passion. It is no accident that revolutionary concepts in style
and form were spawned here, and they are concepts that elsewhere, even within
enormous companies, were never even imagined.
Everything stems from the hot-blooded nature of these people, from this
grassy, fertile terrain and the long secondary roads that cut through farmland.
In the silence of hot summer days, these engines rend the air of the lower Po Valley like sirens, and everyone turns around to see what’s passing through.
These roads, these long, straight secondary roads that shoot like arrows across
the Emilia plains, are what have formed the DNA of these formidable engines.
For these cars seem to have been crafted simply to entice you to floor the
accelerator and delight in the sound of the loveliest, most musical twelve
cylinders in the world: the ones from Sant’Agata Bolognese.
grassy, fertile terrain and the long secondary roads that cut through farmland.
In the silence of hot summer days, these engines rend the air of the lower Po Valley like sirens, and everyone turns around to see what’s passing through.
These roads, these long, straight secondary roads that shoot like arrows across
the Emilia plains, are what have formed the DNA of these formidable engines.
For these cars seem to have been crafted simply to entice you to floor the
accelerator and delight in the sound of the loveliest, most musical twelve
cylinders in the world: the ones from Sant’Agata Bolognese.
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| Ferruccio Lamborghini at the Sant’Agata Factory |
The Lamborghini Museum is a natural expression of this love. Established
by the new owners of this glorious make, the German Audi Group, it was built-in
a matter of months. It is distinguished by a daring architectural design that
nevertheless respects the building that houses the museum, the historic first
block where the great adventure of the bold little automotive company began.
by the new owners of this glorious make, the German Audi Group, it was built-in
a matter of months. It is distinguished by a daring architectural design that
nevertheless respects the building that houses the museum, the historic first
block where the great adventure of the bold little automotive company began.
The itinerary that winds its way through the two floors of this museum
fully illustrates the complex, sometimes intricate and often extraordinary
story of Lamborghini. All the main models are here, neatly lined up and in
perfect condition. Above all, this is a very rich and modern museum. When you
consider the number of models produced at Sant’Agata and the number of cars
exhibited in the museum, it dawns on you that this is truly one of the most
representative and complete factory museums in the world. All the cars that
have made Lamborghini great are here, either permanently or on a rotating
basis, but there are also many other important aspects, alongside a large
number of the secondary or lesser-known ones. Everything that is significant to
the devotees of the ‘Lamborghini world’ is exquisitely represented here. The
passion that inspired those who set up the museum is meaningfully reflected by
the number of illustrative panels, photographs, engines, small-scale models and
even historic shop equipment. Directly or indirectly, all of this testifies to
the long path that Lamborghini has traveled in these forty difficult, glorious
years.
fully illustrates the complex, sometimes intricate and often extraordinary
story of Lamborghini. All the main models are here, neatly lined up and in
perfect condition. Above all, this is a very rich and modern museum. When you
consider the number of models produced at Sant’Agata and the number of cars
exhibited in the museum, it dawns on you that this is truly one of the most
representative and complete factory museums in the world. All the cars that
have made Lamborghini great are here, either permanently or on a rotating
basis, but there are also many other important aspects, alongside a large
number of the secondary or lesser-known ones. Everything that is significant to
the devotees of the ‘Lamborghini world’ is exquisitely represented here. The
passion that inspired those who set up the museum is meaningfully reflected by
the number of illustrative panels, photographs, engines, small-scale models and
even historic shop equipment. Directly or indirectly, all of this testifies to
the long path that Lamborghini has traveled in these forty difficult, glorious
years.
The history of ‘Lamborghini Automobili’ officially starts in 1963.
Nevertheless, we must consider the far-off roots of this event, and they are
the roots of Ferruccio Lamborghini. Born in 1916, this capable, impetuous,
strong-willed Taurus was the leading character in the foundation of the company
and the early phases of its extraordinary history.
Nevertheless, we must consider the far-off roots of this event, and they are
the roots of Ferruccio Lamborghini. Born in 1916, this capable, impetuous,
strong-willed Taurus was the leading character in the foundation of the company
and the early phases of its extraordinary history.
By the time he decided to build a factory of luxury sports cars,
Ferruccio was already a very wealthy man. In the period following World War II,
he founded his tractor factory, which he launched with energy and
determination, creating a major point of reference in this industry. Other
businesses followed, and he amassed his fortune at the perfect time, before his
fiftieth birthday. By the early Sixties, Lamborghini was a powerful and
successful man who knew exactly what he wanted, but when he said he would build
a super sports car to compete with Ferrari, many people thought he was mad.
Constructing that kind of car was viewed as an unexplainable extravagance, a
hazardous leap in the dark, and
something that would squander his fortune without ever turning a profit.
Ferruccio was already a very wealthy man. In the period following World War II,
he founded his tractor factory, which he launched with energy and
determination, creating a major point of reference in this industry. Other
businesses followed, and he amassed his fortune at the perfect time, before his
fiftieth birthday. By the early Sixties, Lamborghini was a powerful and
successful man who knew exactly what he wanted, but when he said he would build
a super sports car to compete with Ferrari, many people thought he was mad.
Constructing that kind of car was viewed as an unexplainable extravagance, a
hazardous leap in the dark, and
something that would squander his fortune without ever turning a profit.
In reality, Lamborghini had already done his homework and, as usual, he
had done it quite well. He had taken apart his own prestigious cars and
discovered that some of the spare parts on these cars were exactly the same
ones he used for his tractors, except for the fact that when they were mounted
on those cars they tripled in price. The manufacturer’s mark-up was obviously
enormous. While Ferruccio – the man – was stubborn enough to argue with
Ferrari, Lamborghini – the industrialist – was already pondering these enormous
profit margins and what could be earned with this business, aside from pure and
simple prestige.
had done it quite well. He had taken apart his own prestigious cars and
discovered that some of the spare parts on these cars were exactly the same
ones he used for his tractors, except for the fact that when they were mounted
on those cars they tripled in price. The manufacturer’s mark-up was obviously
enormous. While Ferruccio – the man – was stubborn enough to argue with
Ferrari, Lamborghini – the industrialist – was already pondering these enormous
profit margins and what could be earned with this business, aside from pure and
simple prestige.
He started working on this project in late 1962, and by May 1963 he had
already founded ‘Automobili Ferruccio Lamborghini’, buying a large plot of land
in Sant’Agata Bolognese, about 25 kilometers from Bologna, to build a new large
and ultramodern factory. Because of the experience he had gained with his other
companies, he was in a position to set up the best facilities for his purpose:
a very functional structure that, at the time, was unrivaled in its field. The enormous and well-lit central building was adjacent to the office building so
that the management could constantly monitor the production situation. This was
ideal for Lamborghini, who would often roll up his shirtsleeves and go to work
on the cars personally when he saw something that wasn’t done just the way he
wanted.
already founded ‘Automobili Ferruccio Lamborghini’, buying a large plot of land
in Sant’Agata Bolognese, about 25 kilometers from Bologna, to build a new large
and ultramodern factory. Because of the experience he had gained with his other
companies, he was in a position to set up the best facilities for his purpose:
a very functional structure that, at the time, was unrivaled in its field. The enormous and well-lit central building was adjacent to the office building so
that the management could constantly monitor the production situation. This was
ideal for Lamborghini, who would often roll up his shirtsleeves and go to work
on the cars personally when he saw something that wasn’t done just the way he
wanted.
The first model was naturally put out quickly, given that Lamborghini
had only a few months between the time he decided to build the factory and the
date set for its official presentation. The event that was chosen for this was
the era’s traditional rendezvous, the Turin Auto Show scheduled for the
beginning of November 1963. Since Lamborghini had a very clear idea of what he
wanted, he didn’t waste any time looking for the right people. For the engine,
which had to be the best V12 made in the area – and thus in the world – he
immediately turned to Giotto Bizzarrini, who had designed some of Ferrari’s
most recent engines. For the rest of the car and to start up production, he
hired two promising young engineers, Giampaolo Dallara and Giampaolo Stanzani.
Their combined age was barely fifty at the time, but they were talented and
enthusiastic, and they had a natural instinct when it came to thoroughbred
cars. They needed it because their boss was a man who was almost brutally
honest, and from the very start, he clearly detailed exactly what he expected
from his new car. In a 1963 statement given to Italian journalist Athos
Evangelisti, he observed: “… in the past, I bought some of the most famous Gran
Turismo cars, and found several flaws. Too hot, not very comfortable or not
fast enough, or not finished to perfection. Now I want to make a flawless GT. Not
a technical marvel. A very normal, very conventional but perfect car.”
had only a few months between the time he decided to build the factory and the
date set for its official presentation. The event that was chosen for this was
the era’s traditional rendezvous, the Turin Auto Show scheduled for the
beginning of November 1963. Since Lamborghini had a very clear idea of what he
wanted, he didn’t waste any time looking for the right people. For the engine,
which had to be the best V12 made in the area – and thus in the world – he
immediately turned to Giotto Bizzarrini, who had designed some of Ferrari’s
most recent engines. For the rest of the car and to start up production, he
hired two promising young engineers, Giampaolo Dallara and Giampaolo Stanzani.
Their combined age was barely fifty at the time, but they were talented and
enthusiastic, and they had a natural instinct when it came to thoroughbred
cars. They needed it because their boss was a man who was almost brutally
honest, and from the very start, he clearly detailed exactly what he expected
from his new car. In a 1963 statement given to Italian journalist Athos
Evangelisti, he observed: “… in the past, I bought some of the most famous Gran
Turismo cars, and found several flaws. Too hot, not very comfortable or not
fast enough, or not finished to perfection. Now I want to make a flawless GT. Not
a technical marvel. A very normal, very conventional but perfect car.”
This was a considerable endeavor and time was short. Nevertheless, when
the 350 GTV was presented it was already a masterpiece. It responded perfectly
to what the company founder had declared, at least as far as the mechanical
side was concerned. From a practical standpoint, however, the body by Franco
Scaglione, a widely admired designer who had also worked for Carrozzeria
Bertone, was not as well-conceived. The line was indubitably dramatic, but it
was more worthy of a Batmobile than a GT, flaunting an incredible pointed
snout, enormous glass area, the very long rear window, which was one of the
trademarks of this designer but that illogically reduced the opening of the
boot, and an overall surface treatment and detailing more appropriate for a
show prototype than a car to be put into production. On the testbench, however,
the 3.5-liter engine proved it could easily put out 360 hp, with a roar worthy
of the top racing V12. The independent suspensions of the GTV were an
innovation for the GTs of the era, and all the components, from the gearbox to
the brakes were selected from outside suppliers with the sole intention of
obtaining the very best on the market.
the 350 GTV was presented it was already a masterpiece. It responded perfectly
to what the company founder had declared, at least as far as the mechanical
side was concerned. From a practical standpoint, however, the body by Franco
Scaglione, a widely admired designer who had also worked for Carrozzeria
Bertone, was not as well-conceived. The line was indubitably dramatic, but it
was more worthy of a Batmobile than a GT, flaunting an incredible pointed
snout, enormous glass area, the very long rear window, which was one of the
trademarks of this designer but that illogically reduced the opening of the
boot, and an overall surface treatment and detailing more appropriate for a
show prototype than a car to be put into production. On the testbench, however,
the 3.5-liter engine proved it could easily put out 360 hp, with a roar worthy
of the top racing V12. The independent suspensions of the GTV were an
innovation for the GTs of the era, and all the components, from the gearbox to
the brakes were selected from outside suppliers with the sole intention of
obtaining the very best on the market.
The debut of the Lamborghini in a narrow but fiercely competitive market
– shared until then by Ferrari, Maserati, Aston Martin, Jaguar and just a
handful of others – certainly created a stir. Skeptics seriously doubted
Lamborghini’s ability to go ahead with this project without any specific
experience in this difficult field. But those who knew him well simply
commented: wait and see, because Lamborghini knows what he’s doing.
– shared until then by Ferrari, Maserati, Aston Martin, Jaguar and just a
handful of others – certainly created a stir. Skeptics seriously doubted
Lamborghini’s ability to go ahead with this project without any specific
experience in this difficult field. But those who knew him well simply
commented: wait and see, because Lamborghini knows what he’s doing.
In retrospect, 1964 was an extraordinary year. As soon as he realized
that the body designed by Scaglione had been received rather coldly,
Lamborghini’s first move was to have the design redone completely to make it
more attractive to the public, and he thus turned to the famous Milan-based
Carrozzeria Touring. The changes that Felice Bianchi Anderloni made to the
original design created a line that became a classic: original but without
being extreme. The 350 GT was born, and the Lamborghini Museum has an absolutely perfect specimen on exhibit.
that the body designed by Scaglione had been received rather coldly,
Lamborghini’s first move was to have the design redone completely to make it
more attractive to the public, and he thus turned to the famous Milan-based
Carrozzeria Touring. The changes that Felice Bianchi Anderloni made to the
original design created a line that became a classic: original but without
being extreme. The 350 GT was born, and the Lamborghini Museum has an absolutely perfect specimen on exhibit.
This speedy two-seater Berlinetta had everything it took to attract
customers, although sales were naturally rather modest at first. Not everyone
was bold enough to abandon the better-known established makes like Ferrari and
Maserati to hand a substantial sum of money over to a constructor who, until
then, had been famous only for his excellent tractors. Word had to get around,
a few of the models had to be seen in circulation, and Lamborghini, the
tireless promoter of his own company, did not hesitate to go about with his
creation to show it off to the world. Several journalists immediately
understood its worth and readily expressed their enthusiasm for the new car.
In the July 1965 issue of “Car”, Henry Manney III, one of the leading American
journalists, stated in no uncertain terms that “this car will be a headache for
Ferrari and that the Lamborghini is the most desirable sports car I’ve ever
driven”. This was a considerable compliment, considering that Manney, who wrote
for a number of prestigious American and English periodicals at the time, was a
Ferrari customer himself and owned a 250 GTO. The immediate and almost
inevitable offshoot of the 350 GT, of which 135 were built, was the 400 GT. Its
engine was increased to a four-liter model and it featured the first gearbox
designed in-house by Lamborghini. Based initially on the two-seater body, which
was later developed into the 400 GT 2+2 with two occasional seats behind the
two regular ones, the 400 GT reached the respectable overall production figure
of 273 units.
customers, although sales were naturally rather modest at first. Not everyone
was bold enough to abandon the better-known established makes like Ferrari and
Maserati to hand a substantial sum of money over to a constructor who, until
then, had been famous only for his excellent tractors. Word had to get around,
a few of the models had to be seen in circulation, and Lamborghini, the
tireless promoter of his own company, did not hesitate to go about with his
creation to show it off to the world. Several journalists immediately
understood its worth and readily expressed their enthusiasm for the new car.
In the July 1965 issue of “Car”, Henry Manney III, one of the leading American
journalists, stated in no uncertain terms that “this car will be a headache for
Ferrari and that the Lamborghini is the most desirable sports car I’ve ever
driven”. This was a considerable compliment, considering that Manney, who wrote
for a number of prestigious American and English periodicals at the time, was a
Ferrari customer himself and owned a 250 GTO. The immediate and almost
inevitable offshoot of the 350 GT, of which 135 were built, was the 400 GT. Its
engine was increased to a four-liter model and it featured the first gearbox
designed in-house by Lamborghini. Based initially on the two-seater body, which
was later developed into the 400 GT 2+2 with two occasional seats behind the
two regular ones, the 400 GT reached the respectable overall production figure
of 273 units.
Thus, by early 1965 the coupes from Sant’Agata were starting to be
noticed. Moreover, several aficionados also began to realize that under the
rather extravagant chassis, which broke from the classic standards of famous
coachwork companies, there was outstanding mechanical quality: in short, this
was a fast car that also offered comfort on long trips. Sales gradually started
to increase, although these figures were obviously small, given the elite
target.
noticed. Moreover, several aficionados also began to realize that under the
rather extravagant chassis, which broke from the classic standards of famous
coachwork companies, there was outstanding mechanical quality: in short, this
was a fast car that also offered comfort on long trips. Sales gradually started
to increase, although these figures were obviously small, given the elite
target.
This was the first, great phase of the Lamborghini company, and one of
its most prolific and creative periods. Between October 1965 and June 1966, the company presented an astonishing number of new models. Although cars like the
3500 GTZ (with a Zagato body), 350 Spyder by Touring and the Monza 400 by Neri
and Bonacini were essentially prototypes, the seemingly extravagant chassis
presented at the Lamborghini stand during the 1965 Turin Auto Show was destined
to have a profound impact on the history of the company and on the entire
automotive industry.
its most prolific and creative periods. Between October 1965 and June 1966, the company presented an astonishing number of new models. Although cars like the
3500 GTZ (with a Zagato body), 350 Spyder by Touring and the Monza 400 by Neri
and Bonacini were essentially prototypes, the seemingly extravagant chassis
presented at the Lamborghini stand during the 1965 Turin Auto Show was destined
to have a profound impact on the history of the company and on the entire
automotive industry.
The design of this chassis can be traced to the enormous enthusiasm of
the two young engineers hired by Ferruccio to head the technical department of
his factory. Both Dallara and Stanzani were young, passionate and enthusiastic.
The trust that Lamborghini placed in them by putting them at the head of this new
and extraordinary operation quickly spawned new and more advanced ideas in the
minds of the two engineers. These ideas were based on the state of the art in
race cars during this period, namely the two-seater sports car, a concept that
was well represented by an automobile that would also become a legend: the Ford
GT40. This car had completely broken with the tradition of the Fifties,
represented by Jaguar, Maserati, Ferrari, and Aston Martin, with their big
engines mounted in front of the car in a tubular chassis finished with a
lightweight aluminum body. All this was revolutionized by the arrival of cars
with a mid-rear engine, assembled on a chassis made of bent and welded sheet
metal. This achieved excellent weight distribution, outstanding structural
rigidity, and the possibility of highly sophisticated integrations between the
various chassis components and the mechanical parts.
the two young engineers hired by Ferruccio to head the technical department of
his factory. Both Dallara and Stanzani were young, passionate and enthusiastic.
The trust that Lamborghini placed in them by putting them at the head of this new
and extraordinary operation quickly spawned new and more advanced ideas in the
minds of the two engineers. These ideas were based on the state of the art in
race cars during this period, namely the two-seater sports car, a concept that
was well represented by an automobile that would also become a legend: the Ford
GT40. This car had completely broken with the tradition of the Fifties,
represented by Jaguar, Maserati, Ferrari, and Aston Martin, with their big
engines mounted in front of the car in a tubular chassis finished with a
lightweight aluminum body. All this was revolutionized by the arrival of cars
with a mid-rear engine, assembled on a chassis made of bent and welded sheet
metal. This achieved excellent weight distribution, outstanding structural
rigidity, and the possibility of highly sophisticated integrations between the
various chassis components and the mechanical parts.
This was indeed the concept of the two young engineers from Bologna: to
put a barely tamed version of a full-fledged race car on the road, rather than
a reinterpretation of the classic traditional GT. Their project, provisionally codenamed 400 TP, thus had the 4-liter 12-cylinder engine of the 400 GT
transversely mounted behind the cockpit, with the gearbox and the differential
united to the engine base in a single casting. The chassis was made of bent,
welded sheet metal that was drilled to make it more lightweight. Unfortunately,
at the beginning of 1965, all this seemed to be little more than a project,
without any hope for practical application. Lamborghini himself had
continuously repeated and emphasized that he was not interested in futuristic
or extravagant projects: he simply wanted to make a normal, ultra-fast and
flawless car. His engineers instead found the courage to propose a car that, at
least in appearance, went in the opposite direction. It was potentially a very
fast car, but by the same token it was bound to be a noisy one – one that had
to be tested and would almost certainly not be fault-free – and yet it was an
exciting and ultra-modern car.
put a barely tamed version of a full-fledged race car on the road, rather than
a reinterpretation of the classic traditional GT. Their project, provisionally codenamed 400 TP, thus had the 4-liter 12-cylinder engine of the 400 GT
transversely mounted behind the cockpit, with the gearbox and the differential
united to the engine base in a single casting. The chassis was made of bent,
welded sheet metal that was drilled to make it more lightweight. Unfortunately,
at the beginning of 1965, all this seemed to be little more than a project,
without any hope for practical application. Lamborghini himself had
continuously repeated and emphasized that he was not interested in futuristic
or extravagant projects: he simply wanted to make a normal, ultra-fast and
flawless car. His engineers instead found the courage to propose a car that, at
least in appearance, went in the opposite direction. It was potentially a very
fast car, but by the same token it was bound to be a noisy one – one that had
to be tested and would almost certainly not be fault-free – and yet it was an
exciting and ultra-modern car.
As the story goes, when Lamborghini saw the project he approved it
immediately, probably shocking the two very surprised designers, who certainly
didn’t dare hope for such a happy ending to their proposal. For once, however,
Lamborghini was wrong in his forecast: he declared that a car like that should
be built because it would be good advertising for the make, even though it
would clearly never sell more than fifty worldwide. Every so often, even the
best make mistakes.
immediately, probably shocking the two very surprised designers, who certainly
didn’t dare hope for such a happy ending to their proposal. For once, however,
Lamborghini was wrong in his forecast: he declared that a car like that should
be built because it would be good advertising for the make, even though it
would clearly never sell more than fifty worldwide. Every so often, even the
best make mistakes.
The chassis was completed rather quickly, and it was exhibited at the
Turin Auto Show in October 1965. As was always the case with Lamborghini items
during that period, it was viewed with a mixture of curiosity, interest,
incredulity and, in some cases, even outright diffidence. Many reiterated that,
once again, Lamborghini had indeed put normal cars into production, but that
chassis! The mechanics! No: that odd-looking chassis drilled like an airplane,
with that engine set behind the cockpit, would never, ever go into production.
Turin Auto Show in October 1965. As was always the case with Lamborghini items
during that period, it was viewed with a mixture of curiosity, interest,
incredulity and, in some cases, even outright diffidence. Many reiterated that,
once again, Lamborghini had indeed put normal cars into production, but that
chassis! The mechanics! No: that odd-looking chassis drilled like an airplane,
with that engine set behind the cockpit, would never, ever go into production.
One person who believed in that chassis, and above all in Lamborghini’s
capabilities, was Nuccio Bertone. The Turin-based coach-builder was an expert
on cars and engines, and as soon as he saw the chassis he approached
Lamborghini and said, “I’m the one who can make the shoe to fit your foot”. The
two shook hands, and this marked the beginning of an extraordinary adventure.
The head of Bertone’s design department, Giorgetto Giugiaro, had just left the
company to establish his own firm, Ital Design and his position had been
filled by a young designer the age of Dallara and Stanzani, Marcello Gandini.
Thus, it was up to Gandini to interpret Bertone’s ideas, creating a unique and
sensational body for the Bologna-built chassis, something that – in its blend
of aggressiveness, elegance, originality, and class – was to prove unrepeatable: Miura was born.
capabilities, was Nuccio Bertone. The Turin-based coach-builder was an expert
on cars and engines, and as soon as he saw the chassis he approached
Lamborghini and said, “I’m the one who can make the shoe to fit your foot”. The
two shook hands, and this marked the beginning of an extraordinary adventure.
The head of Bertone’s design department, Giorgetto Giugiaro, had just left the
company to establish his own firm, Ital Design and his position had been
filled by a young designer the age of Dallara and Stanzani, Marcello Gandini.
Thus, it was up to Gandini to interpret Bertone’s ideas, creating a unique and
sensational body for the Bologna-built chassis, something that – in its blend
of aggressiveness, elegance, originality, and class – was to prove unrepeatable: Miura was born.
No one actually knows why it was given this name. Above all, Ferruccio
never wanted to disclose why he came up with the analogy to this breed of
extraordinary and powerful bulls, a Spanish bullfighting legend. For someone
like him, a man who was born under the sign of Taurus and had used this symbol
for the proud logo of all his industrial activities, naming one of his cars
after a fighting bull must have come naturally. If anything, what is surprising
is the fact that, in choosing the first name for his first car that would have
enormous international impact, he instinctively chose the best and most
appropriate name.
never wanted to disclose why he came up with the analogy to this breed of
extraordinary and powerful bulls, a Spanish bullfighting legend. For someone
like him, a man who was born under the sign of Taurus and had used this symbol
for the proud logo of all his industrial activities, naming one of his cars
after a fighting bull must have come naturally. If anything, what is surprising
is the fact that, in choosing the first name for his first car that would have
enormous international impact, he instinctively chose the best and most
appropriate name.
According to experts, Miura bulls are by no means ordinary animals. They
are the strongest of all fighting bulls but, above all, they are the most
intelligent and fiercest ones, in the military sense of the word. In their
books, bullfighters often talk about the unmistakable gaze of the Miura bull:
the gaze of a true fighter, shrewd and powerful. The name was particularly apt
and, with just five letters, it was also very immediate. However, Lamborghini
had never met Don Antonio Miura, and this heightened the mystery surrounding
the choice of this name. Be that as it may, Miura himself, who initially voiced
his disapproval over the use of this name for an Italian car without his
permission, was later very pleased about the choice, hosting Lamborghini a
number of times at his magnificent ranch near Seville.
are the strongest of all fighting bulls but, above all, they are the most
intelligent and fiercest ones, in the military sense of the word. In their
books, bullfighters often talk about the unmistakable gaze of the Miura bull:
the gaze of a true fighter, shrewd and powerful. The name was particularly apt
and, with just five letters, it was also very immediate. However, Lamborghini
had never met Don Antonio Miura, and this heightened the mystery surrounding
the choice of this name. Be that as it may, Miura himself, who initially voiced
his disapproval over the use of this name for an Italian car without his
permission, was later very pleased about the choice, hosting Lamborghini a
number of times at his magnificent ranch near Seville.
Work to ready the Miura immediately proceeded at a feverish pace.
Gandini later recounted that from October to February, everyone worked around
the clock, seven days a week, like madmen. A major event was coming up and no
one wanted to miss the opportunity to present this new model: the 1966 Geneva
Motor Show. In this case, the enormous and inevitable problems involved in
constructing any prototype were magnified by the fact that the car then had to
go into production immediately. Therefore, any solutions that could not be
applied immediately for the road model had to be abandoned. It was a colossal
struggle and yet, because of that juncture of positive energy that blesses
men’s work every so often and elevates it to a level far above everyday
routine, everything fell into place. The line of the Miura came out perfectly
from the very outset, the prototype was assembled virtually without any
problems, the testing pointed to the need for just a few minor changes. And
therein lay the miracle: that the chassis presented as a completely
experimental prototype in the autumn of 1965 had become the most stunning road
car in the world – in just four months.
Gandini later recounted that from October to February, everyone worked around
the clock, seven days a week, like madmen. A major event was coming up and no
one wanted to miss the opportunity to present this new model: the 1966 Geneva
Motor Show. In this case, the enormous and inevitable problems involved in
constructing any prototype were magnified by the fact that the car then had to
go into production immediately. Therefore, any solutions that could not be
applied immediately for the road model had to be abandoned. It was a colossal
struggle and yet, because of that juncture of positive energy that blesses
men’s work every so often and elevates it to a level far above everyday
routine, everything fell into place. The line of the Miura came out perfectly
from the very outset, the prototype was assembled virtually without any
problems, the testing pointed to the need for just a few minor changes. And
therein lay the miracle: that the chassis presented as a completely
experimental prototype in the autumn of 1965 had become the most stunning road
car in the world – in just four months.
The Miura reigned supreme at the Motor Show in Geneva. Fewer and fewer
claimed that such an advanced car would never go into production, and they had
to veil their skepticism, muttering under their breath, because everyone who
saw the Miura was simply ecstatic. The orders started to flood into the offices
of Ferruccio and his sales director, Ubaldo Sgarzi. Enthusiasm was sky-high
and, in a sensational coup, Lamborghini managed to raise it even higher by
bringing the Miura to the Monte Carlo Grand Prix, the most exciting weekend for
sports cars in general and for top-level Italian ones in particular. The orange
Miura he parked in front of the Hotel de Paris that Saturday afternoon
attracted so many oglers that they completely jammed the square in front of the
Casino, arousing even more enthusiasm, interest, and orders. It was, quite
simply, a runaway success.
claimed that such an advanced car would never go into production, and they had
to veil their skepticism, muttering under their breath, because everyone who
saw the Miura was simply ecstatic. The orders started to flood into the offices
of Ferruccio and his sales director, Ubaldo Sgarzi. Enthusiasm was sky-high
and, in a sensational coup, Lamborghini managed to raise it even higher by
bringing the Miura to the Monte Carlo Grand Prix, the most exciting weekend for
sports cars in general and for top-level Italian ones in particular. The orange
Miura he parked in front of the Hotel de Paris that Saturday afternoon
attracted so many oglers that they completely jammed the square in front of the
Casino, arousing even more enthusiasm, interest, and orders. It was, quite
simply, a runaway success.
In October 1967, just three years after its hesitant debut in Turin,
Lamborghini arrived at the Italian Auto Show with an extraordinary line-up. By
this time, the range of cars was truly impressive. Officially, the 350 GT was
still available, but it was actually out of production by this time. The golden
duo of the 400 GT 2+2 coupe and the Miura galvanized experts, attracting them
to the stand of the young Bologna company that, overnight, had become the
darling of all car magazines. The prestigious Touring coachwork firm also
presented one of its creations at this show, but this was its swansong: the
original Flying Star II, based on the front-engined chassis of the 400 GT, was
the company’s last car before it went bankrupt. Thus, one of the most
prestigious Italian firms disappeared and a part of its extraordinary heritage was lost, at least in part.
Lamborghini arrived at the Italian Auto Show with an extraordinary line-up. By
this time, the range of cars was truly impressive. Officially, the 350 GT was
still available, but it was actually out of production by this time. The golden
duo of the 400 GT 2+2 coupe and the Miura galvanized experts, attracting them
to the stand of the young Bologna company that, overnight, had become the
darling of all car magazines. The prestigious Touring coachwork firm also
presented one of its creations at this show, but this was its swansong: the
original Flying Star II, based on the front-engined chassis of the 400 GT, was
the company’s last car before it went bankrupt. Thus, one of the most
prestigious Italian firms disappeared and a part of its extraordinary heritage was lost, at least in part.
The year was 1967, and Lamborghini could now look towards the future far
more optimistically. The flood of orders for the Miura pumped new cash into his
company, but above all, it generated unparalleled interest and publicity. At
least in this, Lamborghini had been right on target: a model like this was
destined to overwhelm the minds and souls of all car buffs. Lamborghini thus
became a symbolic name in the auto world, the emblem of excess, of going
‘further’ at all costs, of always doing more and better than any rival without
preconceptions or conventional limitations. This configuration did not prevent
numerous aficionados from buying and appreciating the 400 GT, a serious and
mature model by this time, but the Miura gave the company unique prestige.
more optimistically. The flood of orders for the Miura pumped new cash into his
company, but above all, it generated unparalleled interest and publicity. At
least in this, Lamborghini had been right on target: a model like this was
destined to overwhelm the minds and souls of all car buffs. Lamborghini thus
became a symbolic name in the auto world, the emblem of excess, of going
‘further’ at all costs, of always doing more and better than any rival without
preconceptions or conventional limitations. This configuration did not prevent
numerous aficionados from buying and appreciating the 400 GT, a serious and
mature model by this time, but the Miura gave the company unique prestige.
 |
| Lamborghini Marzal Concept 1967 |
Once again, the year opened with an extraordinary appearance and this
time the theme – the brainchild of Bertone and Gandini – was an amazing
four-seater with a rear engine mounted transversally behind the axle and
sensational gullwing doors. The concept of vertically opening doors appeared
for the very first time on this exotic vehicle dubbed the Marzal, and in the
future this would gradually become the distinctive feature of the top-range
Lamborghinis.
time the theme – the brainchild of Bertone and Gandini – was an amazing
four-seater with a rear engine mounted transversally behind the axle and
sensational gullwing doors. The concept of vertically opening doors appeared
for the very first time on this exotic vehicle dubbed the Marzal, and in the
future this would gradually become the distinctive feature of the top-range
Lamborghinis.
The Marzal was not destined for production. In order to stay within the
predefined dimensions, its mechanical features differed from the high-power and
ultra-sophisticated kind to which Lamborghini had already accustomed its
clients. Mounted behind the rear axle was an engine that was just half the size
of the company’s classic V12. It thus had a 2-liter straight-six cylinder
engine with a power rating of about 180 hp – clearly not up to the performance
expectations for a car bearing this logo. This did not keep the Marzal from
becoming the star of many auto shows and being celebrated on the covers of
international magazines. And it was even chosen by Prince Rainier of Monaco,
with Princess Grace at his side, to open the Monte Carlo Grand Prix that year.
Once again, Ferruccio Lamborghini’s flair for publicity proved to be
exceptional.
predefined dimensions, its mechanical features differed from the high-power and
ultra-sophisticated kind to which Lamborghini had already accustomed its
clients. Mounted behind the rear axle was an engine that was just half the size
of the company’s classic V12. It thus had a 2-liter straight-six cylinder
engine with a power rating of about 180 hp – clearly not up to the performance
expectations for a car bearing this logo. This did not keep the Marzal from
becoming the star of many auto shows and being celebrated on the covers of
international magazines. And it was even chosen by Prince Rainier of Monaco,
with Princess Grace at his side, to open the Monte Carlo Grand Prix that year.
Once again, Ferruccio Lamborghini’s flair for publicity proved to be
exceptional.
After all this uproar, however, it was time to get to work and reap the
fruits of these image-making coups. The year 1967 was also one marked by the
beginning of real production of the Miura, sacrifices and the tough commitment
to transform this brilliant concept into a real automobile. Not surprisingly,
these first specimens showed their teething troubles. It took a number of
modifications to turn the first Miura into a satisfactory car, although the
customers themselves were unconcerned. This remarkable car immediately became a
symbol of wealth, first and foremost. Very expensive cars – like today’s
Murciélago but requiring far more maintenance and attention. And then it was
also an expression of youth, or at least of a truly young spirit: the Miura was
very low so that getting in and out of it essentially required the agility of
a gymnast, and only an all-out sports car enthusiast would willing undergo a
workout like this.
fruits of these image-making coups. The year 1967 was also one marked by the
beginning of real production of the Miura, sacrifices and the tough commitment
to transform this brilliant concept into a real automobile. Not surprisingly,
these first specimens showed their teething troubles. It took a number of
modifications to turn the first Miura into a satisfactory car, although the
customers themselves were unconcerned. This remarkable car immediately became a
symbol of wealth, first and foremost. Very expensive cars – like today’s
Murciélago but requiring far more maintenance and attention. And then it was
also an expression of youth, or at least of a truly young spirit: the Miura was
very low so that getting in and out of it essentially required the agility of
a gymnast, and only an all-out sports car enthusiast would willing undergo a
workout like this.
Above all, however, it was the most fashionable car of its day,
essentially equivalent to the Mini, albeit at the other end of the price scale.
It was a car that the very wealthy simply had to have, because it was a symbol,
for it was a car that – like no other – expressed the audacity, gusto for
living and freedom to travel that characterized the era. The motorways that had
just been constructed were perfect: straight, empty and without any speed
limits. The Miura could clock 280 km/hour, an amazing speed in a country like
Italy that was still populated by a handful of cars such as the Fiat 500 and
600 and, for wealthier car owners, the 1100 and the Giulietta. These were the
years the miniskirt burst onto the fashion scene, expressing a new joie de
vivre. The explosive and carnal personality of the Miura perfectly
reflected this revolution in how people dressed and thought, and like its bold
colors – ultra-modern, absolutely new and matchless – it became part of an
era. An orange or acid-green Miura darting through the sparse grey-colored
traffic of the era was akin to a shark in a goldfish tank: it made any other
car invisible. Almost inevitably, overnight it became the favorite among
playboys, film stars, industrialists, musicians and royalty around the world:
anyone who really counted drove a Miura, or at least had one on order. The Shah
of Persia, Frank Sinatra, and Dean Martin were just a few of the loyal customers
who bought this car, and Lamborghini became a familiar name to them.
essentially equivalent to the Mini, albeit at the other end of the price scale.
It was a car that the very wealthy simply had to have, because it was a symbol,
for it was a car that – like no other – expressed the audacity, gusto for
living and freedom to travel that characterized the era. The motorways that had
just been constructed were perfect: straight, empty and without any speed
limits. The Miura could clock 280 km/hour, an amazing speed in a country like
Italy that was still populated by a handful of cars such as the Fiat 500 and
600 and, for wealthier car owners, the 1100 and the Giulietta. These were the
years the miniskirt burst onto the fashion scene, expressing a new joie de
vivre. The explosive and carnal personality of the Miura perfectly
reflected this revolution in how people dressed and thought, and like its bold
colors – ultra-modern, absolutely new and matchless – it became part of an
era. An orange or acid-green Miura darting through the sparse grey-colored
traffic of the era was akin to a shark in a goldfish tank: it made any other
car invisible. Almost inevitably, overnight it became the favorite among
playboys, film stars, industrialists, musicians and royalty around the world:
anyone who really counted drove a Miura, or at least had one on order. The Shah
of Persia, Frank Sinatra, and Dean Martin were just a few of the loyal customers
who bought this car, and Lamborghini became a familiar name to them.
While Dallara and Stanzani worked with the help of New Zealand test
driver Bob Wallace to improve the car in production, Ferruccio – ever full of
ideas – was pushing to show the world new models. It was not simply a matter of
vanity: the presentation of the Miura Roadster at the Brussels Car Show in 1968
also helped test customer reactions to the possibility of introducing a
convertible to the range. Despite the professed enthusiasm, however, this model
received relatively few orders and as a result, it remained in the glorious
stage of the show prototype without any production follow-up. More importantly,
however, the Jslero was introduced in March of the same year. Officially
presented to the press on 16 February 1968, at 6,450,000 lire it had a rather
steep price tag. Nevertheless, its 300-hp engine made it an automobile that was
worthy of its prestigious name, with an increasingly comfortable and
well-finished interior. This was the GT that Lamborghini had dreamed of, the
natural successor to the 400 GT that had gone out of production after the
Touring coachwork company closed. Constructed by men who had also worked for
Touring, like Mario Marazzi, the Jslero was an impressive-looking, elegant 2+2
coupe featuring the same mechanics as the 400 it was replacing. However,
Lamborghini’s clientele had become accustomed to the stylistic touches of the
Miura and as a result, Jslero sales were somewhat modest.
driver Bob Wallace to improve the car in production, Ferruccio – ever full of
ideas – was pushing to show the world new models. It was not simply a matter of
vanity: the presentation of the Miura Roadster at the Brussels Car Show in 1968
also helped test customer reactions to the possibility of introducing a
convertible to the range. Despite the professed enthusiasm, however, this model
received relatively few orders and as a result, it remained in the glorious
stage of the show prototype without any production follow-up. More importantly,
however, the Jslero was introduced in March of the same year. Officially
presented to the press on 16 February 1968, at 6,450,000 lire it had a rather
steep price tag. Nevertheless, its 300-hp engine made it an automobile that was
worthy of its prestigious name, with an increasingly comfortable and
well-finished interior. This was the GT that Lamborghini had dreamed of, the
natural successor to the 400 GT that had gone out of production after the
Touring coachwork company closed. Constructed by men who had also worked for
Touring, like Mario Marazzi, the Jslero was an impressive-looking, elegant 2+2
coupe featuring the same mechanics as the 400 it was replacing. However,
Lamborghini’s clientele had become accustomed to the stylistic touches of the
Miura and as a result, Jslero sales were somewhat modest.
Instead, a far different kind of success was in store for the other
important novelty presented at the Lamborghini stand at the Geneva Motor Show
that year. The Espada, remotely derived from the Marzal line, was an
extraordinary two-door model with a front-mounted engine and four very
comfortable seats. Featuring a 2650 mm wheelbase, it flaunted an utterly
original and truly innovative style. It marked the fullest expression of what
was probably Marcello Gandini’s most successful period in terms of creativity.
The Espada was nothing short of revolutionary and it was completely new and
original, from the balance of the two main volumes to the large rear window,
which was actually the hatch of the boot, and on to the large flat bonnet that
opened up as a single unit, the low and tapered waistline, the rear wheel
housing that partially covered the wheels and the NACA ducts on the bonnet.
Once again, countless orders were placed, because the Lamborghini name was now
firmly established and the concept of the Espada was decidedly convincing.
important novelty presented at the Lamborghini stand at the Geneva Motor Show
that year. The Espada, remotely derived from the Marzal line, was an
extraordinary two-door model with a front-mounted engine and four very
comfortable seats. Featuring a 2650 mm wheelbase, it flaunted an utterly
original and truly innovative style. It marked the fullest expression of what
was probably Marcello Gandini’s most successful period in terms of creativity.
The Espada was nothing short of revolutionary and it was completely new and
original, from the balance of the two main volumes to the large rear window,
which was actually the hatch of the boot, and on to the large flat bonnet that
opened up as a single unit, the low and tapered waistline, the rear wheel
housing that partially covered the wheels and the NACA ducts on the bonnet.
Once again, countless orders were placed, because the Lamborghini name was now
firmly established and the concept of the Espada was decidedly convincing.
This time, however, Ferruccio seemed to have bitten off more than he
could chew. The in-house technical team and the company’s suppliers, workers
and employees could barely keep up with this explosion of activity, for which
everything virtually had to be made from scratch. Until the Miura phenomenon
exploded in the first half of 1966, the firm was working as any as a hard
engineering company in the area. Subsequently, however, the company had to work
at a dizzying pace and everyone had to double their efforts, while also
dividing their attention among several models. This inevitably triggered a
series of problems that were reflected in the longer time it took to produce
these cars and in the growing impatience of customers, who – now that they had
seen the future of sports cars – did not want to wait too long for the
Lamborghini they had ordered.
could chew. The in-house technical team and the company’s suppliers, workers
and employees could barely keep up with this explosion of activity, for which
everything virtually had to be made from scratch. Until the Miura phenomenon
exploded in the first half of 1966, the firm was working as any as a hard
engineering company in the area. Subsequently, however, the company had to work
at a dizzying pace and everyone had to double their efforts, while also
dividing their attention among several models. This inevitably triggered a
series of problems that were reflected in the longer time it took to produce
these cars and in the growing impatience of customers, who – now that they had
seen the future of sports cars – did not want to wait too long for the
Lamborghini they had ordered.
The bottleneck created by the transformation of prototypes into road
cars undoubtedly represented the main obstacle to the company’s financial
success. In 1968, Lamborghini managed to deliver a total of 37 Espadas and 187
Miuras, plus a few Jsleros – and that was it. Certainly not much to back the
financial efforts of the company founder, who was nevertheless quite confident,
and rightly so: in less than five years, the automotive company he had founded
was already a legend.
cars undoubtedly represented the main obstacle to the company’s financial
success. In 1968, Lamborghini managed to deliver a total of 37 Espadas and 187
Miuras, plus a few Jsleros – and that was it. Certainly not much to back the
financial efforts of the company founder, who was nevertheless quite confident,
and rightly so: in less than five years, the automotive company he had founded
was already a legend.
Despite the logistical and organizational problems of the period, no one
could stand idle. The production lines of the three models (Jslero, Espada and
Miura) had barely been started up in 1969 when improvements began to be
considered. The most important operation undoubtedly involved approving an
entire series of modifications, which were effectively required for the Miura,
and incorporating them into a single new version. The outcome was the S
version, created in November 1968. Its presentation was naturally a must at the
Turin Auto Show that year, and the new Miura offered customers a 370-hp engine,
i.e. 20 more than the previous version. It also featured electric windows, the
whole interior was more luxurious by finished and options included air
conditioning (an innovation bordering on the extravagant, at least in Europe)
and natural leather upholstery. Only the chrome finish on a few minor exterior
parts and a small metal S-shaped like a lightning bolt, mounted on the tail
panel of the car, distinguished the new version of the Miura from the old one,
which therefore ended its career.
could stand idle. The production lines of the three models (Jslero, Espada and
Miura) had barely been started up in 1969 when improvements began to be
considered. The most important operation undoubtedly involved approving an
entire series of modifications, which were effectively required for the Miura,
and incorporating them into a single new version. The outcome was the S
version, created in November 1968. Its presentation was naturally a must at the
Turin Auto Show that year, and the new Miura offered customers a 370-hp engine,
i.e. 20 more than the previous version. It also featured electric windows, the
whole interior was more luxurious by finished and options included air
conditioning (an innovation bordering on the extravagant, at least in Europe)
and natural leather upholstery. Only the chrome finish on a few minor exterior
parts and a small metal S-shaped like a lightning bolt, mounted on the tail
panel of the car, distinguished the new version of the Miura from the old one,
which therefore ended its career.
But Miura S wasn’t the only Lamborghini novelty. Ferruccio had never
concealed his admiration for the comfort offered by Citroën cars. As a result,
on the Espada, he offered an option that was unheard of at the time, namely a
hydropneumatic suspension system, inspired by the one made by the French
automaker, named Lancomatic. This was indubitably a bold initiative because it
strived to offer a truly superior level of comfort for the company’s
four-seater. Naturally, this option was destined to have very little success,
as was the case with the automatic transmission, which was also offered as an
option on this car. Nevertheless, this detail underscores the quest for
excellence underlying the research done on the various models. The Jslero was
subsequently elaborated, boosted in terms of power and refinished, and as a
result, the GTS version was brought out on 31 May 1969. Despite its performance
features, the 350-hp engine, the car’s overall comfort and its alluring lines,
the Jslero was overshadowed by the Espada and, above all, by the Miura, and it
was too close to them in price not to suffer because of this.<
concealed his admiration for the comfort offered by Citroën cars. As a result,
on the Espada, he offered an option that was unheard of at the time, namely a
hydropneumatic suspension system, inspired by the one made by the French
automaker, named Lancomatic. This was indubitably a bold initiative because it
strived to offer a truly superior level of comfort for the company’s
four-seater. Naturally, this option was destined to have very little success,
as was the case with the automatic transmission, which was also offered as an
option on this car. Nevertheless, this detail underscores the quest for
excellence underlying the research done on the various models. The Jslero was
subsequently elaborated, boosted in terms of power and refinished, and as a
result, the GTS version was brought out on 31 May 1969. Despite its performance
features, the 350-hp engine, the car’s overall comfort and its alluring lines,
the Jslero was overshadowed by the Espada and, above all, by the Miura, and it
was too close to them in price not to suffer because of this.<
