The Olympia Splendid series was introduced in the late 1950s as an evolution of the Schreibmaschine Flach line, the Olympia SF. These are extremely high-quality typewriters, both in terms of materials and finish, and were produced in several different versions. The Splendid 99 was the most luxurious model, while the Splendid 33 was the most economical, lacking both the ribbon colour selector and touch regulator. The Splendid 66 is essentially identical to the 99, apart from a few differences in cosmetic finish. It is a very compact portable typewriter, measuring just 75 mm in height and weighing 4.2 kg. By comparison, an Olivetti Lettera 22 measures approximately 80 mm in height and weighs 3.8 kg, while the Groma Kolibri measures only 60 mm and weighs 4.7 kg. Typewriters of this size are generally regarded as ultra-compact machines.
The typing action in this category is rarely particularly soft, mainly because of the short internal linkages. The Olympia Splendid follows this general tendency and, as an additional characteristic, has an extremely crisp and responsive keyboard, with a very direct touch. It somewhat recalls the feel of the Olympia SG series, mainly because of the similar key shape and surface finish, as well as the crispness of the action. The force required at the keys, however, is entirely different: the Splendid has a considerably shorter and heavier touch. This is in clear contrast with the very soft keyboards found on many other typewriters, and some users may actually prefer this more immediate and mechanical feel.
During testing, the machine showed exceptional print precision, something that is by no means common among portable typewriters. The keytops have a slightly textured surface, except for the vowel keys, which have been polished smooth by fairly intensive use. This makes the impression of its printing quality even more remarkable: probably thanks to the quality of the materials used, wear over time appears to be remarkably low.
A complete restoration of a typewriter begins with the disassembly of the machine, followed by a thorough cleaning of all mechanical components, first using an ultrasonic bath and then rinse using a petroleum-based solvent.
Once cleaned, every component is carefully dried and reassembled, and then the internal mechanism is precisely lubricated to guarantee optimal performance. The mainspring is also dismantled, cleaned, and reassembled with fresh grease, ensuring consistent tension and smooth carriage movement.
The machine then undergoes a comprehensive adjustment process, including fine-tuning of the kinematics, ribbon lift, and upper/lower case alignment. Components subject to natural wear, such as the ink ribbon, rubber grommets, carriage drawcord, and any weakened springs, are replaced with new parts.
Against stubborn dirt dried after fifty or more years of neglect, the classic combination of kerosene and a brush would achieve very little. I am referring specifically to dried correction fluid, eraser residue —sometimes melted by the heat of an attic—, hardened grease, deposits of sebum mixed with dead skin, and so on. The ultrasonic cleaning tank I use in my restorations was built by a specialized company and is specifically designed and custom-made for cleaning typewriters.
How does it work? The phenomenon involved is cavitation. The powerful waves generated by the sonotrodes are transmitted into the water, creating microbubbles at extremely high pressure that implode upon contact with the object. Using a simple solution of water and soap, a combined action is achieved: a physical high-frequency “micro-brushing” effect together with the degreasing action of the detergent dissolved in the bath. The result is excellent, with a low environmental impact when biodegradable soaps are used.
The original paintwork was in good overall condition and still adhered well to the metal body, although it was chipped in two or three small areas. I therefore prepared a small quantity of the exact matching colour by mixing basic paints with universal tinting colours, then carefully retouched the damaged spots with a fine brush.
To restore an Olympia Splendid typewriter to perfect working condition, it is essential to rebuild the various rubber components, which over time tend to harden and eventually crumble completely. Feet, main platen, and both lower and front paper rollers—all must be renewed. Everything is made possible thanks to experience and specialized equipment. For more information, please visit this page.
At the end of the restoration, the typewriter undergoes a complete functional test. A final test certificate—typed on the machine itself, signed, and stamped—is issued as proof of successful inspection and completion of the service.
