•But each time I seemed to be climbing into a roller coaster and finding myself coming through the downhill run with that sort of dazed feeling that we all know.
• Aerodynamics are for people who can't build engines.
• Worried about his absence - Campari's car was faster than mine- and the chase of Bonmartini and Giulio Masetti's Mercedes, I looked at Siena with a first sign to slow down.
• My mechanic was Eugenio Siena, a Campari's cousin, full of an agonistic spirit which was over his relationship duties, who died in Tripoli in the Grand Prix of 1938 when he was graduating as an international pilot.
• With this car I had won at Ravenna the Racetrack of Savio and at Rovigo the Racetrack of Polesine, but in the Acerbo Cup I initialed my fame as a pilot.
• I had a very speedy start and at each lap I repeated my search in the mirror, but in vain: I couldn't see the P2..
• Campari explained me that he had hidden the car in a by-street, after having retired for a damage to the change-gear, so that the antagonists would not have realized too soon his surrender.
• In the team of the Alfa there was also Campari with the famous P2, but, unfortunately, he was forced to retire.
• His foot was flat down, and he had obviously changed down to the right gear before going through this fearsome rigmarole. In this way he put the car into a four-wheel drift, making the most of the thrust of the centrifugal force and keeping it on the road with the traction of the driving wheels.
• As agreed, since the first lap I should have looked for the shape of Campari's P2 in the driving mirror, if I had lead the way, to give him way with dispatch.
• But each time I seemed to be climbing into a roller coaster and finding myself coming through the downhill run with that sort of dazed feeling that we all know.
• As bend followed bend, I discovered his secret. Nuvolari entered the bend somewhat earlier than my driver's instinct would have told me to.
• Campari explained me that he had hidden the car in a by-street, after having retired for a damage to the change-gear, so that the antagonists would not have realized too soon his surrender.
• The client is not always right.