Miguel Sánchez
1957 was surely the most paradoxical and controversial year in the entire history of Maserati. To begin with, his successes in F1 were indisputable thanks to the 250F. A truly sensational car. In fact, together with the Lancia D50 it was one of the best during the moments before the revolution marked by the mid-rear engine. That innovation presented by Cooper and that, even with the misgivings of the big manufacturers, managed to prevail on the starting grid only in the span of five years. Also, Fangio achieved with Maserati his fifth driver's title just in that same year.
Thus, the small Italian brand seemed to be on the crest of the wave. Point, at which, curiously, the real problems began. Not surprisingly, the development of the 250F had caused as many headaches in the accounting department as joys in the racing department. Also, the quasi-artisanal production of serial models did not generate the necessary benefits either. With all this, the viability of Maserati as a profitable and independent company was in danger. In this way, he had to bite the bullet by abandoning racing to focus exclusively on the production of models for the streets.
Thanks to this, in that same 1957 the 3500 GT was released. Neither more nor less than the first Maserati produced in large volume, adopting chain assembly techniques as Alfa Romeo had already done with the 1900. From here, the house of the trident managed to clean up their accounts and even afford boasts like the 5000 GT. A prodigy of power and style with which he defined what, until now, has been his way of doing things. Based not so much on the most extreme sportsmanship as on a mixture of this with comfort and elegance.
At this point, while Ferrari and Lamborghini launched more radical and spartan designs, Maserati opted for the classic definition of gran turismo thanks to models like Sebring or Mexico. Likewise, since 1963 he completed his commitment with the appearance of the Quattroporte. An unthinkable saloon in Maranello or Sant'Agata Bolognese. All this topped off with some conservative lines devised by Pietro Frua and Virginio Vairo.
However, the sixties evolved at a dizzying pace. Suddenly, even the newest was outdated in a few months, making not a few stylistic leaps necessary if one wanted to stay on the market. Based on it, Maserati decided to replace the Sebring with a model endowed with a certain daring. In this way, in 1967 the Maserati Ghibli arrived. Responsible for renewing the brand's commitment to the world of GTs without escaping from a time when design tended to be more radical.
MASERATI GHIBLI, A MODEL GT
The frame of the Mexico was taken as the basis for the Maserati Ghibli. Something completely logical. Well, this new model was also called to be a 2+2 despite the two-seater nature of its first development prototype. From now on, Ghia was entrusted with the creation of some striking lines with which to catapult the house of the trident until the seventies. A goal achieved by the impetus of Giorgetto Giugiaro. Luckily hired by Ghia from 1965 to 1968 just before he began to refine his ideas on the wedge design.
Quite low and penetrating thanks to its clean front end with retractable headlights, the Maserati Ghibli marked a clear contrast with the rest of the range made up of the Mistral, Sebring, Mexico and Quattroporte. Thanks to this, the brand continued to play in a league similar to that of Ferrari or Lamborghini although, obviously, there were numerous differences. To begin with, the Ghibli was innovative but not revolutionary. What's more, its frame with spars and cross members was far behind the refined Miura chassis devised by Gian Paolo Dallara.
Likewise, the rear suspension was based on an obsolete rigid axle with leaf springs. More typical of a Lancia Fulvia than a GT like this, especially if we take into account how Ferrari already mounted independent suspensions on its 275 1964 GTB. And well, as if all this were not enough, the bodywork had more panels made of steel than in aluminum. Nevertheless, even so, the set was exceptional. In fact, it was hard to take your eyes off this GT where the Maserati identity had taken a giant leap forward.
Of course, using elements of continuity as could also be seen in the engine. A block 107 derived from the 5000GT although, in truth, it has its roots in the 450S manufactured for the World Championship of Makes in 1956. Radiant mechanics, of unquestionable quality. Widely stretched by Maserati by putting it at the center of its range throughout the sixties. Also, In the case of the Ghibli, the displacement of this V8 at 90º was left at 4,7 liters with four Weber carburettors and double overhead camshafts in each cylinder head.. All topped off with a dry sump. Necessary to reduce the height of the engine and, therefore, accommodate it in the bare engine compartment marked by the Giugiaro lines.
In conjunction with this mechanics with 310CV -later versions with more displacement would reach almost 340CV- a five-speed manual gearbox executed by the German ZF was coupled. However, an automatic with three relationships was also offered in a clear nod to the US market. The one that, already at the time the Ghibli was launched, the Italian manufacturers had as their largest area of commercial expansion. With all this, the most interesting thing about the mechanics of this Maserati is to see how this one was tuned to perform more like a solvent high-end GT than an edgy, radical sports car.
Thus, the greatest doses of power did not come after pushing the car to the limit, exceeding the cutoff of 7.000 revolutions per minute. Far from it, the Ghibli delivered them after exceeding 5.000 and little. Also, horse fetish aside, the V8 of this model is capable of offering greater torque than that exhibited by the V12 of the Ferrari 365 GTB/4 or the Lamborghini Miura. That is, the Maserati has less radicality. Yes. But also with a faithful and ample power delivery in any driving situation. Just one of the key requirements for any GT. Exactly what the house of the trident intended with its Ghibli. Simply sensational.
P.D. To illustrate this article we have chosen one of the 83 Spyder units with the 4,7-liter engine. Being as it is a later unit -in fact the Spyder went on the market in 1969- it has air conditioning and power steering. Regarding its general line, it could not be more attractive, topped off with delicious handmade Borrani wheels as well as a radiant Giallo Strega color. Will be auctioned for RM Sotheby's in Paris this coming February 1st.
Photographs: RM Sotheby's
