While it might seem like sacrilege to expose a $10 million classic to the snow, this isn't actually as bad an idea as it sounds. Snow isn't really the enemy, it's salt. And if this parking lot is unsalted, the grime of this drive should be pretty easy to wash off.

Better yet, the snow is actually kind of useful. Without the grip of soft rubber against tarmac, you can do slides without really ragging on the driveline components and the engine.

Not that you have to worry about this car's engine too much. Despite being an "all original" car housed at Philidelphia's Simeone Museum, as you see it here, it has a remanufactured, 1964-spec aluminum 377 cubic-inch engine and remanufactured body panels.

That's not to say, though, that you couldn't return this original spec, because the Simeone Museum has all the car's original parts, too. It's just a matter of bolting them back on.

You see, this car--chassis number 002--was the only unrestored Grand Sport left Jim Jaeger bought it in 1990. Mind you, there are only 5 in existence.

The reason it hadn't been restored is that it was one of the few to have raced consistently. The Grand Sport had the misfortune of being built part way through GM's racing ban. That meant that Chevy couldn't homologate the lightweight Corvette, which meant that it couldn't race against the Cobras it was designed to (and reportedly could) beat.

As a result, it had to race against much faster cars in the Group C class and that meant that most of the five that rolled off the production line (a total of 125 were planned) didn't get much action.

Augie Pabst, Zora Arkus-Duntov, and Roger Penske in Nassau, at one of the few races the Grand Sport ran. GM Heritage Center​

This one did, though, and that meant that the condition was anything but museum-quality. So original was it, though, that wax-pencil notes and marks that the engineers made could still be found around the car.

So Jaeger decided to reproduce the visible parts and build a new engine to show the car off with, but keep the original parts and photograph them extensively for historical purposes.

Which is kind of brilliant, because it makes this a deeply meaningful part of history, that can also be driven and shown off without too much fear of damage.

Now, if that's not American ingenuity, I don't know what is.