From Nighthawk to Spitfire Read online

  ACKNOWLEDGEMENTS

  Putnam’s book on Supermarine, and the annual publications of Jane’s have been invaluable sources of information, as has Price’s work on the genesis of the Spitfire. The reminiscences of various test pilots (notably Biard and Quill) and the RAF High Speed Flight officers (especially Orlebar and Schofield) have also provided valuable insights. Additionally, the works of Penrose, Viscount Templewood and Sinnot have been very helpful sources of information concerning the economic and political factors affecting British aircraft development during this period.

  In the particular context of Supermarine, the extracts from publications by colleagues of Mitchell, especially Webb and Griffiths, have been most informative. Also, the unpublished manuscript of Cozens, helpfully copied to me by Solent Sky Museum.

  Every effort has been made to gain permissions to reproduce material, but if there have been any omissions please contact the publisher who will include a credit in subsequent printings or editions. I have been unable to contact the following publishers or estates of authors: Collins (Templewood), Foulis (Nicholl), C.G. Grey, Hamilton (Schofield), Hurst & Blackett (Biard), J&KH Publishing (Webb), AFC Seeley Service and Co. (Orlebar), and United Writers (Griffiths).

  The drawings and paintings are my own, as are the photographs, unless otherwise credited.

  I am also appreciative of the kind assistance I have received in the past from the Royal Air Force Museum, Cambridge University Department of Manuscripts & Archives, The Royal Aeronautical Society and the staff at Southampton Solent Sky Museum, especially the director, Squadron Leader Alan Jones, whose early encouragement was much appreciated.

  CONTENTS

  Title

  Acknowledgements

  THE MAN No Flash in the Pan

  R.J. Mitchell’s Work Ethic

  The Beginnings

  The Nighthawk and Other Early Aircraft

  EARLY DAYS AT SUPERMARINE Mitchell’s Early Modifications

  Mitchell’s Sea Lions

  Mitchell’s First Full Design

  The Sea Eagles

  EARLY MILITARY ORDERS Precursors of the Walrus

  An Amphibian Bomber and an Enigma

  Mitchell’s Ugly Ducklings

  ANNUS MIRABILIS Designing the Navy’s Standard Reconnaissance Machine

  The Revolutionary Schneider Floatplane

  SCHNEIDER TROPHY SUCCESSES The High Speed Designer Confirmed

  The Flying Radiators

  THE LAST SEAPLANES Mitchell’s Air Yachts

  Giants

  Mitchell’s Seaplanes at War

  ‘He Looped the Bloody Thing!’

  PERSPECTIVES ON THE SPITFIRE British Fighters before the Spitfire

  Mitchell’s Stuka – The First Spitfire

  The Real Spitfire – A Close Run Thing

  The Spitfire Wing

  Naming the Spitfire

  AFTER MITCHELL Mitchell’s Bomber and his Death

  The Spitfire After Mitchell

  Appendix 1: Photographs Showing the Development of the Spitfire

  Appendix 2: Main Versions of the Spitfire

  Appendix 3: Supermarine Wooden Hulls

  Bibliography

  Copyright

  THE MAN

  R.J. Mitchell (c.1930). (Courtesy of Solent Sky Museum)

  NO FLASH IN THE PAN

  One has only to reflect for a moment on the remarkable advent and success of the Spitfire to realise that R.J. Mitchell’s fighter must surely have resulted from considerable previous experience of high speed flight. It is not just air enthusiasts who might still remember his designs, which won the international Schneider Trophy four times, contributing most significantly to the design of the famous fighter.

  However, as we shall see, most of Mitchell’s aeronautical experience was with much slower seaplanes or with even slower amphibians, and it was by no means predictable that he would go on to produce the iconic fighter so strongly associated in the popular mind with the Battle of Britain. Indeed, the designer of this wide range of aircraft types – from transport or reconnaissance seaplanes to high speed Trophy racers – started out in locomotive engineering and never had any formal education as an aircraft designer.

  Yet, well before the Spitfire appeared, he had emerged as one of the most prominent designers of his time, and a listing of his most significant contributions to aviation reveals promise from the very beginning:

  The Commercial Amphibian, his first independent design, won an enhanced award at the 1920 Air Ministry competition for passenger amphibian flying boats. Although this aircraft came second to the Vickers Viking, because of the lower powered engine provided by his company, the second prize of £4,000 was doubled in recognition of the promise that the aircraft had shown.

  His modification and uprating of an earlier company machine, the Sea Lion II, won the Schneider Trophy competition for Britain in 1922.

  ‘I have seen the future, and it works.’ – Lincoln Steffens. R.J. Mitchell (right) with his S6 Schneider Trophy winner. (Courtesy of Solent Sky Museum)

  The small fleet of his Sea Eagle flying boats formed the first British scheduled flying boat service, operating between Southampton and the Channel Islands 1923–1928.

  His Swan of 1924, a larger scale development of the Commercial Amphibian which joined the Sea Eagle fleet, was claimed by Supermarine to be the world’s first multi-engined, amphibian passenger-carrying machine.

  The above mentioned flying boat service was incorporated into the newly formed Imperial Airways Ltd (later British Airways) in 1924.

  His Scarab, also in 1924, equipped the Royal Spanish Air Force with a fleet of twelve military aircraft, and for its time, represented a formidable amphibious bomber gunship. This order represented a significant step towards establishing Supermarine as a prosperous aircraft company.

  His Southampton flying boat, a military development of the Swan, was ordered, unusually in 1925, straight off the drawing board and became the standard RAF coastal reconnaissance aircraft, replacing less satisfactory machines of First World War design. A total of twenty-four Mark Is were built, and this established real stability and prosperity for Supermarine. Pilots reported that they were trouble free and ‘a joy to fly’, and Jane’s described the design as ‘one of the most notable successes in post-war design’. Additionally, it was described as ‘probably the most beautiful biplane flying boat that had ever been built’ and its trendsetting upswept rear hull attracted the comment that it had ‘certainly the most beautiful hull ever built’.

  In the same year, Mitchell also produced his S4 Schneider Trophy racer, which revolutionised the design of virtually all successive competition entries. He moved, in one bold step, from the usual wire-braced biplanes to a startlingly new cantilever monoplane. Compared with the top speed of 175mph claimed for his Sea Lion in 1923, the S4 gained the world speed record for seaplanes and the outright British speed record for all types, with 226.75mph only two years later.

  In 1926 Mitchell appointed one of the first metallurgists to the aircraft industry, which had previously worked almost exclusively with wooden airframes, and his metal-hulled Southampton Mark II was in the forefront of the movement towards all-metal aircraft construction. A total of seventy-nine metal-hulled machines were produced, as well as numerous hulls for retrofitting to the wooden-hulled Mark I, even further enhancing the prosperity and status of Supermarine.

  The increased efficiency of the Mark II Southampton led to the RAF being equipped for a special Far East Flight of four of these machines. The aircraft completed a 27,000 mile cruise between October 1927 and February 1928 to Singapore, and then around Australia, which had only been visited by aircraft on four previous occasions and only circu
mnavigated by one earlier machine. The sixty-two timetabled stages were completed by all the aircraft. The Supermarine publicity said, ‘108,000 machine miles, giving no trouble of any consequence’, and as the Daily Mail said, ‘the flight will rank as one of the greatest feats in the history of aviation’.

  In 1930, Supermarine were awarded a contract (later cancelled by the government) to build the largest wingspan flying boat in the world – greater than the famous Dornier Do X, and only to be surpassed by the Hughes H-4 Hercules of 1947.

  By this time, Mitchell had designed his next two Schneider Trophy racers, the S5 and S6, which respectively won the 1927 and 1929 contests. In the following event of 1931, his uprated S6B won the trophy outright and later went on to set a new absolute air speed record of 407.5mph. This last machine was now made entirely of metal, stressed-skin construction and clearly looked towards the Spitfire, five years later.

  In 1934, the last of his medium-sized amphibians, the Walrus, was ordered by the Royal Australian Air Force and, in the following year, by the Royal Air Force. Eventually a total of 746 were built. It became the standard naval fleet spotter and provided the British armed forces with their slowest aircraft, with its fastest (the Spitfire) soon to follow.

  At the age of 36, Mitchell was described in Supermarine publicity as, ‘One of the leading flying boat, amphibian and high speed seaplane designers in the country.’ He had also been invited to give a talk on the BBC, had been elected a Fellow of the Royal Aeronautical Society and awarded the CBE.

  Reginald Joseph Mitchell CBE in the garden of his house, Portswood, Southampton, 1931. (Courtesy of Solent Sky Museum)

  The above successes, which were achieved before his early death at the age of 42, clearly suggested that he might well be entrusted with the design of an outstanding fighter when the need arose, but it was especially fortunate that he had become involved with the design of the later Schneider Trophy machines, as these gave him unfettered opportunities to extend the boundaries of high speed flight. As a result, the advent of the Spitfire prototype of 1936 marked a dramatic increase of more than 100mph over the most recent RAF fighter in service, and led to an even more dramatic and unprecedented initial order of 310, three months after its first service trial.

  He died, however, without seeing the fighter go into squadron service and without knowing that nearly 23,000 examples were to be built, in a multitude of variants.

  In the pages which follow, the progressive stages in the remarkable career of R.J. Mitchell will be described. But first it will appropriate to describe something of the character and capacity for hard work that produced these significant landmarks.

  R.J. MITCHELL’S WORK ETHIC

  The earlier listing of Mitchell’s successes (and there were also some failures) indicates a considerable output in his relatively short working life, and this is obviously not simply attributable to talent. A capacity for hard, concentrated work was also clearly involved, especially when one comes to consider the variety of aircraft he was called upon to design.

  For example, between 1920 and 1922, the newly appointed chief designer, with only three previous years’ experience in the aircraft industry, was responsible for the design of a passenger-carrying prototype (the Commercial Amphibian) which required the innovation of a retracting undercarriage design; a fleet spotter (the Seal) with the added complexity of folding wings; beginning the design for a replacement for the large First World War Felixstowe coastal reconnaissance flying boat (the Scylla); and the modification of an earlier company machine for the 1922 Schneider Trophy contest (the Sea Lion II).

  This varied output, which was extended to land planes in 1924 with the Sparrow, was described by Arthur Black, Mitchell’s chief metallurgist, as follows:

  In the sixteen years after he became chief designer at the age of 24, he designed the incredible number [of twenty-five machines] ranging from large flying boats and amphibians to light aircraft, and from racing planes and fighters to a four-engined bomber. This diversity of effort and its amount marks R.J. Mitchell for the genius he was.

  His assessment is supported by the more dispassionate view in Mitchell’s obituary in Flight magazine:

  His versatility will be appreciated when it is pointed out that his productions ranged from heavy, long-range flying boats to tiny single-seat land plane fighters and on more than one occasion he had two or three very different types of aircraft passing through the design stage at the same time, so that he frequently had to switch his mind from one problem to another of a totally different character.

  It must be obvious that such an output, in such a short career, implies that a capacity for hard work was one of Mitchell’s main character traits. Versatility and lateral thinking had to be allied with a determination to see a concept to its successful conclusion – and on time.

  The most evident proof of Mitchell’s drive was the series of Schneider Trophy racers from 1927 to 1931 which, although at the forefront of technical knowledge and under severe time restraints, were delivered on time and outperformed rivals in terms of both speed and reliability.

  Today, design complexities are such that many might have reservations about the idea of one man completely dominating the design output of a company, but it should be borne in mind that, during the 1920s and 1930s, it was still possible for one man to have a complete grasp of all the detail that went into the making of an aircraft. Alan Clifton, appointed in 1923 as Mitchell’s stress man, said, ‘R.J. was widely considered the greatest aeroplane designer of his time when one man’s brain could carry every detail of a design’. Thus, while the size of his design team gradually expanded, Mitchell, as well as making the main conceptual decisions, was able to oversee and influence all the detailed working out of a project.

  Arthur Black has recorded how Mitchell (who was also the company’s chief engineer) would appear in the workshop each day and approve or require alterations before moving on to the next project.

  Harry Griffiths, who joined Supermarine as a laboratory assistant in 1929, has also left the following anecdote concerning attention to engineering detail, which is also indicative of why Mitchell was so respected in the firm:

  In the S-6 the fuel was carried in the mid-portion of the floats and was pumped up through the struts to the engine. In level flight this would have been OK but during the race the aircraft was banked through 80 degrees in order to negotiate the sharp bends of the course and this created such high centrifugal force that the fuel supply would have been cut off. Thus a small header tank was located in front of the engine to hold a reserve of fuel sufficient to maintain a supply during turns, and the pumps were arranged to deliver an excess of fuel. This meant that on the straight part of the course some fuel had to be returned to the float tanks.

  A valve on the front of the header tank had two spring-loaded ports which were supposed to split the overflow into … We tried all sorts of combinations of spring-loaded valve flaps, differing pipe sizes and other devices to equalise the flow without success and the race was getting nearer every day.

  One Sunday morning, near to exasperation, we were fitting yet another variation when Mitchell came along and stopped to have a look. At the top of the valve housing there was a small hole leading into the tank which was intended to allow air to escape as fuel went in.

  He pointed to the hole and asked, ‘Why is that there?’, and hearing that it was an air bleed was quiet for a few moments. He then said, ‘Stuff it up’. I was sent to the stores to get an aluminium rivet of the right size and we hammered it in. We then reassemble the valve in its original form and switched on the pump for a test run.

  Eureka – no matter what we did the fuel split into two equal parts!

  Also, Alan Clifton has recorded how Mitchell, as chief designer, would also visit the drawing office and study the drawing in some detail, his head on his hands, thinking rather than speaking. Questions would produce discussion among a small group which would gradually gather round until some conclusion w
as reached. Mitchell would then move on to another board to repeat the process.

  Griffiths has also has left the following observation:

  When a problem was being discussed in the drawing office he would stand by the drawing board listening to all the arguments as to what should be done – on these occasions he had the habit of rolling a pencil back and forth on his hand (it was always a very black pencil!) – and when he had heard enough he would push everyone aside, draw a few lines on top of the existing drawing saying, ‘This is what you will do,’ throw the pencil down and march back to his office.

  Ernest Mansbridge, who joined Clifton in 1924 to work on stressing, remembered Mitchell for a similar method of dealing with a problem – by calling in the leaders of various areas and getting them arguing among themselves. He would listen carefully, making sure that everyone had said what he wanted to, and then either make a decision or go home and sleep on it. Joe Smith, who became chief designer after Mitchell, put the matter in this way: ‘His work was never far from his mind, and I can remember many occasions when he arrived at the office with the complete solution of a particularly knotty problem which had baffled us all the night before’. In fact, Mansbridge expressed the suspicion that with many problems, Mitchell’s discussions were basically to check that he had not overlooked anything and that, otherwise, he had already reached a decision.

  A member of the Schneider Trophy team, Flying Officer R.L.R. Atcherley, has also given a similar assessment of Mitchell from a pilot’s point of view: ‘He was always keen to listen to pilots’ opinions and never pressed his own views against theirs … He set his sights deliberately high, for he had little use for “second bests”. Yet he was the most unpompous man I ever met.’