The Spirit of Ecstasy

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I saw a program on TV recently about the Bentley Bentayga, the new signature 4×4 developed by the luxury brand to appeal to a new market and selling at significantly over $200,000. The iconic Jack Barclay showroom in London’s Berkeley Square has been updated to cater for this new market with an extensive and slightly brutal makeover.

I don’t want to sound at all grumpy old bloke about this development, the car certainly does look refined and comfortable, albeit that it could be easily mistaken for an Audi Q7, but I get a little worried by the need for brands to extend – to reach out to a new market.  Arguably the brand needs updating but should they resist the temptation to simply following the crowd? Or is it that these cars are intended to be highly aspirational but are simply not special enough.

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The Bentley “B” on the bonnet is still in place but the bonnet ornament – the chrome winged “B” is no longer – almost certainly for good Health and Safety, if not aerodynamic, reasons. Sadly, it seems a thing of the past. Well not for all manufacturers …and being fair the winged “B” does appear on the bonnet of the beautiful Bentley Mulsanne.

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Originally conceived as a way of making a dull radiator cover more attractive only Rolls-Royce and Mercedes seem to continue the fine tradition of bonnet ornaments. The most iconic of these pieces of classic automobilia is, of course, The Spirit of Ecstasy.

In 1909 the then Lord Montagu of Beaulieu – a family inextricably linked to the world of motor cars and the founder of The Car Illustrated – sought something distinctive for the bonnet of his new Rolls-Royce Silver Ghost. He commissioned sculptor Charles Robinson Sykes to produce a limited run of four figurines that became known as “The Whisperer”.

Some myth and legend surrounds the model, the sculptur’s muse, but it is said to be the Lord’s secret love, Eleanor Velasco Thornton, a Secretary from his office. Ms Thornton is depicted in flowing robes with her index-finger to her lips, perhaps keeping their love a secret? The affair is rumored to have endured for over ten years.

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By 1910 Rolls-Royce took a “dim view” as to the appropriateness of these ornaments and co-founder, Claude Johnson, commissioned Sykes to invoke the mythical beauty of Nike – the Goddess of Victory – to produce a dignified and graceful mascot. Sykes wasn’t so impressed by the brief but preferred to deliver the beautiful, “The Spirit of Ecstasy”.

It was a clear variation of The Whisperer but Johnson was very pleased with Sykes’ creation on its arrival in February 1911. Royce, however, who was then ill, felt it disturbed the driver’s view!

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Initially an optional extra by the early 1920’s the figurine was fitted as standard. Given changes to coach-work various versions of The Spirit of Ecstasy were used and in the 1934 Sykes was again commissioned to produce a kneeling version for the Phantom iV.

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As of 2003 – the Phantom model and all subsequent versions carrying a reduced the Spirit of Ecstasy only 3 inches tall and mounted onot a spring-loaded cradle that retracts when hit or the engine is turned off. Some years and a smart use of technology resulted in this retractable mount that clearly suggests Rolls-Royce’s determination to ensure the longevity of their iconic sculpture.

Whilst the majority are stainless steel a frosted crystal, illuminated version is a factory option.

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Images with grateful thanks – Tim Bishop, Jill Reger, Banham’s and Rolls-Royce Motors

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Artemide – Tizio lamp

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Few lighting forms have attracted so much attention – and sold so well – over the years as the Tizio lamp from the lighting design powerhouse of Artemide S.p.A. (Milan (Italy)) founded by Ernesto Gismondi and Sergio Mazza in 1960.

Designed in 1972 by renowned designer, German born but Milan based, Richard Sapper – who’s work with Alessi we have praised before – our previous post Alessi Bollitore kettle  – the Tizio desk lamp has received many prestigious international awards – including the highly coveted Compasso d’Oro (Italian design award) – and is part of the permanent exhibitions at the Metropolitan Museum of Art and of the Museum of Modern Art both in New York.

Sapper, in his early career worked in the styling department of Mercedes Benz, moving to Milan in 1958. So the Tizio really is a very appealing icon of German engineering fused with Italian design. It is constructed of polished or anodised aluminum and thermoplastic with a matte-black, white or grey lacquer finish. Later models – as those in our featured image have a small metal rod with a red-dot handle fitted to enable the lighting head to be moved with ease avoiding the heat of the hood.

Said to have taken his inspiration for the counter-weighted oil drilling “Nodding Donkey” Sapper’s use in the Tizio of the halogen bulb – previously the preserve of the automotive industry – was an ingenious development. Additionally, he used low voltage current conducting arms that eliminated the need for wires.

The Tizio remains one of the best-selling lamps ever produced.

“I designed Tizio because I could not find a suitable work lamp for my own desk….. The result is my ultimate dream task lamp; the Tizio”. (Richard Sapper)

 

Image credit: Ray Massey