The Ivory Bible — Old Testament Carvings from Medieval Amalfi

The Ivory Bible — Old Testament Carvings from Medieval Amalfi

The Ivory Bible — Old Testament Carvings from Medieval Amalfi

Medieval Biblical narratives carved in ivory — an enigmatic masterwork from 11th century Southern Italy.

The Salerno Ivories are among the world's forgotten wonders. Carved in elephant ivory a thousand years ago, they form one of the most complete Biblical narrative cycles to survive from the medieval Mediterranean. Their origin remains mysterious—likely Amalfi, possibly elsewhere. Their artistic sophistication is undeniable. Yet they remain largely unknown, housed in a quiet museum on Italy's southern coast.

Published in FMR Magazine's as "The Greatest Story Ever Carved" — with photographs by Roberto Bigano.

The very first EB110 model made in epowood as designed by Benedini, with the rear wheels covered reminding the Bugatti Atlantic. Photo Roberto Bigano. Buy this image in the ikonographia.com store.

The Mystery of Origin

No signatures. No inscriptions. No definitive attribution

The Salerno Ivories resist easy classification. Too Western to be purely Byzantine, too Eastern to be purely Romanesque, they likely emerged from Amalfi—the maritime republic that dominated Mediterranean trade before its decline. But certainty eludes scholars. The carved panels could have come from Salerno, Montecassino, even Norman Sicily.

What matters more than origin is achievement: a synthesis of artistic traditions that could only have emerged where Christian, Islamic, and Byzantine cultures converged in a cosmopolitan port.

The very first EB110 model made in epowood as designed by Benedini, with the rear wheels covered reminding the Bugatti Atlantic. Photo Roberto Bigano. Buy this image in the ikonographia.com store.

All the plaques on this page: Old Testament Ivory Carving. Amalfi School, late 11th – early 12th century. Housed at Museo Diocesano San Matteo in Salerno.

Left: The Spirit of God creates the Waters and separates the light from the darkness.Genesis 1:2
Right: creation of the Angels. Cm 10,2x 22.The Old Testament doesn’t explicitly state when angels were created.
However, it’s generally understood that they were created before the earth, likely during the first day of creation when God made the heavens.

The very first EB110 model made in epowood as designed by Benedini, with the rear wheels covered reminding the Bugatti Atlantic. Photo Roberto Bigano. Buy this image in the ikonographia.com store.

Left: Creation of vegetation and fruit trees. Genesis 1:11 / 1:12.
Right: Creation of the sun, the moon and the stars. Genesis 1:14 / 1:19. — Cm 10,2x 22

The very first EB110 model made in epowood as designed by Benedini, with the rear wheels covered reminding the Bugatti Atlantic. Photo Roberto Bigano. Buy this image in the ikonographia.com store.

Left: Creation of Eve. Genesis 2:21 / 2:23.
Right: Temptation and Original Sin. Genesis 3:6 / 3:7 / 1:19. — Cm 10,2x 22.

The very first EB110 model made in epowood as designed by Benedini, with the rear wheels covered reminding the Bugatti Atlantic. Photo Roberto Bigano. Buy this image in the ikonographia.com store.

Left: Expulsion from the Garden of Eden. Genesis 3:23.
Right: Men destined to live by cultivating the land 3:24. Genesis 3:24 — Cm 10,7x21,9.

Old Testament Ivory Carving. God Commands Noah to build the Ark - Building the Ark

Left: God commands Noah to build the Ark. Genesis 6:14 / 6:21
Right: Noah building the Ark. Genesis 6.22
Cm 10,1x21,9.

Old Testament Ivory Carving. God closes the door of the Ark - The Raven and the Dove.

Left: God closes the door of the Ark. Genesis 7:13/ 7:16
Right: The Raven and the Dove. Genesis 8:6:8/17
Cm 9.9 x 22.2.

Old Testament Ivory Carving. Noah exits the Ark - Noah's sacrifice Left: Noah exits the Ark. Genesis 8:18 Right; Noah's sacrifice. Genesis 8:19 Cm 10.3x21.8 Old Testament Ivory Carving. Amalfi School, late 11th - early 12th century. Housed at Museo Diocesano San Matteo, in Salerno, Italy.

Left: Noah exits the Ark. Genesis 8:18
Right: Noah's sacrifice. Genesis 8:19
Cm 10,3 x 21.8.

Old Testament Ivory Carving. God Blesses Noah and His Descendants - Noah the Winemaker.

Left: God Blesses Noah and His Descendants. Genesis 9:1 / 9:3.
Right: Noah the Winemaker. Genesis 9:20
Cm 10.6 x 24.1.

Roberto Bigano, the photographer, shares his story

A destiny written in the stars

I was reading a New York Times article from a series that shared fascinating stories about Italian lifestyle, food, scenic landscapes, and art. This chapter began with a bold statement: “Today is Friday, and we’ll visit the Collection of the Salerno Ivories. They are among the world’s wonders, yet few people know about them.”

I was surprised; I had never heard of this collection, which was unusual for me since I was quite familiar with the artistic scene of Naples and its surroundings, having often worked there.

Determined to learn more, I promised myself to delve deeper into this topic. However, I didn’t have much time to explore further. A couple of hours later, my colleague from Naples called me and said, “Hi Roberto, we need to photograph the ivories of Salerno.” It felt as if our destinies were written in the stars.

Babel Left: The Drunkenness of Noah. Genesis 9:20 / 9:23 Right: Pharaoh returns Sarah to Abraham. Genesis 11:1 / 11:9 Cm 10,5 x 24. Old Testament Ivory Carving. Amalfi School, late 11th - early 12th century. Housed at Museo Diocesano San Matteo, in Salerno, Italy.

Left: The Drunkenness of Noah. Genesis 9:20 / 9:23.
Right: The Tower of Babel. Genesis 11:1 / 11:9.
Cm 10,5 x 24.

Old Testament Ivory Carving. God speaks to Abraham - Pharaoh returns Sarah to Abraham Left: God speaks to Abraham. Genesis 12:6 / 12:9 Right: Pharaoh returns Sarah to Abraham. Genesis 12:14 / 12:20 Cm 10,2 x 24.2. Old Testament Ivory Carving. Amalfi School, late 11th - early 12th century. Housed at Museo Diocesano San Matteo, in Salerno, Italy.

Left: God speaks to Abraham. Genesis 12:6 / 12:9.
Right: Pharaoh returns Sarah to Abraham. Genesis 12:14 / 12:20.
Cm 10,2x 24.2.

God tells Abraham to leave Harran - Blessing of Abraham. Left: God tells Abraham to leave Harran. Genesis 12:1 / 12:2 Right: Blessing of Abraham. Genesis 12:3 / 12:5 Cm 10,2 x 24.2. Old Testament Ivory Carving. Amalfi School, late 11th - early 12th century. Housed at Museo Diocesano San Matteo, in Salerno, Italy.

Left: God tells Abraham to leave Harran. Genesis 12:1 / 12:2
Right. Blessing of Abraham. Genesis 12:3 / 12:5.
Cm 10,3 x 24.1

Left: Sacrifice of Isaac. Genesis 22.9 / 22.14 Right: Blessing of Abraham. Genesis 22.15 / 22.18 Cm 10,2 x 24.2. Old Testament Ivory Carving. Amalfi School, late 11th - early 12th century. Housed at Museo Diocesano San Matteo, in Salerno, Italy.

Left: Sacrifice of Isaac. Genesis 22:9 / 22:14
Right. Blessing of Abraham. Genesis 22.15 / 22.18.
Cm 10,2x 24.2.

Left: Jacob's dream or the Jacob's Ladder. Genesis 28:10 / 28:17 Right. Moses and the burning bush. Exodus 3:1 / 3:5 Cm 9x 24.1. Old Testament Ivory Carving. Amalfi School, late 11th - early 12th century. Housed at Museo Diocesano San Matteo, in Salerno, Italy.

Left: Jacob's dream, also known as Jacob's Ladder. Genesis 28:10 / 28:17
Right: Moses and the burning bush. Genesis 1:14 / 1:19.
Cm 9,6x 24.1.

Left: Miracle of the rod turning into a serpent. Exodus 4:1 / 4:4 Right. Miracle of the leprous hand. Exodus 4:6 / 4:10 Cm 9x 24.1. Old Testament Ivory Carving. Amalfi School, late 11th - early 12th century. Housed at Museo Diocesano San Matteo, in Salerno, Italy.

Left: Miracle of the rod turning into a serpent. Exodus 4:1 / 4:4
Right. Miracle of the leprous hand. Exodus 4:6 / 4:10
Cm 9.8x24

The Exhibition & The Publication

An Exhibition — A Book — Cover and 16 pages on FMR Magazine

These photographs were commissioned for The Medieval Ivories Enigma — From Amalfi to Sorrento, an exhibition examining Southern Italy's ivory carving tradition. A selection later appeared in FMR Magazine's 2024 Summer Solstice issue, in an article titled "The Greatest Story Ever Carved" by Francesca Dall'Acqua.

For Ikonographia, the project created a visual archive allowing these works to be studied and appreciated beyond the museum's walls—documentation that transforms obscurity into access.

Moses at Mount Sinai. Old Testament Ivory Carving. Amalfi School, late 11th

Moses at Mount Sinai. Exodus 19:1 / 19:6
Cm 8.9x11.4

The Ivory Bible — NewTestament Carvings from Medieval Amalfi

The next episode will feature the entire collection of the New Testament series, which includes 27 plaques illustrating 51 scenes. These plaques were created a century later and boast more intricate designs, making them even more captivating than the Old Testament series.

Armor with grotesque mask-style visor owned by Wolf Dietrich von Hohenems of Lansquenets 1525
FMR Magazine - Summer Solstice Number 2024. Ivory Carving Article

A selection of images featuring Old and New Testament ivory carvings has been beautifully presented in the 2024 Summer Solstice edition of the iconic FMR Magazine.

The article, titled "The Greatest Story Ever Carved," is written by Francesca Dall'Acqua, with photographs by Roberto Bigano.


This issue is available in both English and Italian.

Copyright Links and Credits

Photography, Copyright & Credits

All photographs © Ikonographia / Roberto Bigano — All Rights Reserved. These images are part of the Ikonographia Visual Archives: — The Ivory Bible — Old and New Testament Carvings from Medieval Amalfi Archive

Terms of Use (Summary)

The images presented in this archive are copyrighted and available for licensed use only through Ikonographia Visual Archives.

You may not download, reproduce, publish, or distribute these images without a valid license. For commercial or editorial licensing, please refer to the product pages or contact Ikonographia directly. A full explanation of licensing terms is available in the Shop / Licensing Information section under "Ikonographia — Standard License" and "Ikonographia — Merchandising & Product Use Licenses"

Ikonographia Mission Statement

Ikonographia is committed to the accurate documentation, preservation, and ethical dissemination of twentieth-century visual culture.

Archival Notes — The Ivory Bible — Old and New Testament Carvings from Medieval Amalfi

Medieval Biblical narratives carved in ivory — an enigmatic masterwork from 11th century Southern Italy. The Salerno Ivories are among the world's forgotten wonders. Carved in elephant ivory a thousand years ago, they form one of the most complete Biblical narrative cycles to survive from the medieval Mediterranean. Their origin remains mysterious—likely Amalfi, possibly elsewhere. Their artistic sophistication is undeniable. Yet they remain largely unknown, housed in a quiet museum on Italy's southern coast. Published in FMR Magazine's as "The Greatest Story Ever Carved" — with photographs by Roberto Bigano.

All images follow Ikonographia's internal archival standards for resolution, color accuracy, and metadata structure to ensure long-term consistency across the collection.

Available Contents

Further Reading — Selected Sources

Art Deco Glass Objects by Serge Roche, 1930s

Art Deco Glass Objects by Serge Roche, 1930s

Art Deco Glass Objects by Serge Roche — 1930s

The most complete visual documentation of Serge Roche's work — photographed for FMR Magazine.

Serge Roche — born in Paris in 1898 — was the defining figure of French Art Deco glass and mirror work. His studio on Boulevard Haussmann attracted the elite of the international art world for three decades. His clients included the Princess Aga Khan and the Countess of Polignac. His techniques — oxidation and verre églomisé — produced objects never replicated.

Roberto Bigano photographed the collection for FMR Magazine. Outside specialist circles, Roche remains largely unknown — almost nothing on him exists in English. This story is the most complete visual documentation of his work available in any language.

A Serge Roche Art Deco mirror fireplace, crafted in 1933 for a NYC customer.

Serge Roche, an eclectic artist, symbol of an irreplaceable era.


Serge Roche, born in France in 1898, was an eclectic artist, although he would be best defined as an interior decorator. He was also a remarkable antiquarian, sculptor, designer, and organizer of significant exhibitions.
His studio, located at 125 Boulevard Haussmann, served as a global hub for decades, attracting the elite of the Parisian and international artistic community. In 
1925, Roche participated in the International Exhibition of Modern Decorative and Industrial Arts, collaborating with the Manufacture de Sèvres to create a 16m² porcelain panel themed on the Earthly Paradise.

By 1934, he had developed a unique style that became the focus of his first exhibition, featuring mirrors and 'mirror and glass objects.' He combined two techniques: oxidation and eglomization.
Enjoy a selection of these stunning creations.

Obelisque in oxidized glass, with a crystal ball on top. Serge Roche 1933. Collection Laurent Marechal. Photo by Roberto Bigano.

Obelisque in oxidized glass, with a crystal ball on top, by Serge Roche, 1933.

Paris, collection Laurent Marechal.

Verre églomisé and oxidized glass.


Verre églomisé is a French term for applying and gilding glass to produce a mirror finish. This technique also involves the intriguing process of embedding foreign materials within glass paste, adding a layer of diversity to the art form.
The name verre églomisé is a tribute to the 18th-century French decorator and art dealer Jean-Baptiste Glomy, who played a pivotal role in its revival.
When a glass appears hazy and has an Etched look, it is called oxidized. Oxidation is typically seen as a flaw but can be creatively harnessed. Roche's innovative approach to using oxidation in eglomized glass led to unprecedented results.

To start, you can enjoy a series of his famous glass obelisks, which are his signature art objects.

Obelisque, by Serge Roche 1936. Obelisk in oxidized and eglomized glass.

Obelisque, by Serge Roche, 1936.

Obelisk in oxidized and eglomized glass.
Paris, collection Laurent Marechal.

Obelisque in oxidized and eglomized blue glass, by Serge Roche 1938

Obelisque by Serge Roche, 1938.

Obelisk in oxidized and eglomized blue glass.
Paris, collection Laurent Marechal.

Pair of obelisks in eglomized glass by Serge Roche 1935

Paire d'obélisques en verre églomisé by Serge Roche, 1935. Pair of obelisks in eglomized glass.
Paris, collection Laurent Marechal.

Vase "Médicis" in oxidized mirror, by Serge Roche 1934. One sample was sold to Princess Aga Khan.

Vase "Médicis" in oxidized mirror, by Serge Roche, 1934.

One sample was sold to Princess Aga Khan.

Mirrors table with stuccoed lion's feet by Serge Roche 1939

Mirror table with stuccoed lion's feet by Serge Roche 1939.

Pedestal table in oxidized glass and gilded stucco wood by Serge Roche 1936

Guéridon (pedestal table) in oxidized glass and gilded stucco wood by Serge Roche, 1936.

Serge Roche's console en verre églomisé, console in eglomised mirror, 1935.

Mirror table with stuccoed lion's feet by Serge Roche 1939.

A Serge Roche wrought iron table in the oxidized mirror and glass columns, 1932

A Serge Roche wrought iron table in the oxidized mirror and glass columns, 1932. Custom made for the Countess of Polignac.

Backstage with Serge Roche's obelisks of the 1930s at the collector's house, Paris, 2005.

Backstage with the obelisks at the collector's house, Paris, 2005. Suddenly, a ray of sunshine illuminated the obelisks, highlighting their shifting luminescence.

Two unbelievable masterpieces.


Before highlighting some fascinating non-glass art objects, we are proud to present two exceptional masterpieces created by this truly unique artist.

The first is an eglomisé octagonal mirror framed by panels featuring mythical creatures. The craftsmanship, a piece of history, was likely done by Max Ingrand in 1933 for the Maison Serge Roche.
The second object is a highly intricate mirror fireplace, crafted in 1934 by Serge Roche. This unique work was commissioned by Mr. C. Suydam's residence in New York City.

Eglomizedì octagonal mirror for Serge Roche by Max Ingrand 1933

"Eglomized" octagonal mirror framed by panels featuring mythical creatures by Maison Serge Roche. The craftsmanship was likely done by Max Ingrand in 1933. The Eglomization technique consisted of embedding foreign elements in the mirror's glass paste, producing an endless array of variations. Collection Laurent Marechal.

Detail of a mythical animal from an Art Deco mirror by Max Ingrand for Serge Roche 1933

Detail of a mythical animal from an Art Deco mirror by Max Ingrand for Serge Roche, 1933

Detail of a mythical animal from a mirror by Max Ingrand for Serge Roche 1933

Detail of a mythical animal from a mirror by Max Ingrand for Serge Roche 1933

A highly intricate eglomisé mirror fireplace with a shell on top, crafted in 1933 by Serge Roche as a unique piece for Mr. C. Suydam's Cutting in New York City. Paris, collection Laurent Marechal.

A highly intricate eglomisé mirror fireplace with a shell on top, crafted in 1933 by Serge Roche as a unique piece for Mr. C. Suydam's Cutting in New York City.
Paris, collection Laurent Marechal.

A highly intricate eglomisé mirror fireplace with a shell on top, crafted in 1933 by Serge Roche as a unique piece for Mr. C. Suydam's Cutting in New York City. Paris, collection Laurent Marechal.

A highly intricate eglomisé mirror fireplace with a shell on top, crafted in 1933 by Serge Roche as a unique piece for Mr. C. Suydam's Cutting in New York City. Front detail.
Paris, collection Laurent Marechal.

Mirror fireplace by Serge Roche, 1933, detail 2

A highly intricate eglomisé mirror fireplace with a shell on top, crafted in 1933 by Serge Roche as a unique piece for Mr. C. Suydam's Cutting in New York City. Side detail.
Paris, collection Laurent Marechal.

A corner detail of a Serge Roche Art Deco mirror fireplace, crafted in 1933 for a NYC customer

A highly intricate eglomisé mirror fireplace with a shell on top, crafted in 1933 by Serge Roche as a unique piece for Mr. C. Suydam's Cutting in New York City. Corner detail.
Paris, collection Laurent Marechal.

Serge Roche's works with materials other than glass and mirrors.


The last part of this story introduces you to Serge Roche's works with materials other than glass and mirrors.
At the end, you will have gained a comprehensive understanding of Roche's work, spanning from his creation of art objects to his furniture designs.

However, Roche's artistic repertoire extended far beyond glass and mirrors. He was a versatile artist, known for his work as a decorator and organizer of major exhibitions and events in France, Europe, and the United States.
For instance, Roche undertook a monumental project, spending five years to furnish and decorate the Chateau de Chalins, owned by the billionaire actress Ganna Walska.

Serge Roche wooden cabinet with drawings by Ismaël de la Serna, 1936

A wooden cabinet decorated with scagliola motifs.
The surrealist-inspired drawings were made by Ismaël de la Serna for Serge Roche. 1936.
Paris, collection Laurent Marechal.

Serge Roche wooden cabinet with drawings by Ismaël de la Serna, 1936 detail

A wooden cabinet decorated with scagliola motifs.
The surrealist-inspired drawings were made by Ismaël de la Serna for Serge Roche. 1936.
Paris, collection Laurent Marechal.

Serge Roche stuccoed-iron floor lamp, crafted in 1935 by Gilbert Poillerat

Serge Roche iron floor lamp stuccoed in white, crafted in 1935 by Gilbert Poillerat

Serge Roche's Atlas-shaped stucco column 1933

Serge Roche's Atlas-shaped stucco column 1933
Paris, collection Laurent Marechal.

Copyright Links and Credits

Photography, Copyright & Credits

All photographs © Ikonographia / Roberto Bigano — All Rights Reserved. These images are part of the Ikonographia Visual Archives:Art Deco Glass Objects by Serge Roche (1930s)

Roberto Bigano photographed this collection for FMR Magazine.

Terms of Use (Summary)

The images presented in this archive are copyrighted and available for licensed use only through Ikonographia Visual Archives.

You may not download, reproduce, publish, or distribute these images without a valid license. For commercial or editorial licensing, please refer to the product pages or contact Ikonographia directly. A full explanation of licensing terms is available in the Shop / Licensing Information section under "Ikonographia — Standard License" and "Ikonographia — Merchandising & Product Use Licenses."

Ikonographia Mission Statement

Ikonographia is committed to the accurate documentation, preservation, and ethical dissemination of twentieth-century visual culture.

The Nonexistent Knight — The Armour Collection of Ferdinand von Habsburg

The Nonexistent Knight — The Armour Collection of Ferdinand von Habsburg

The Nonexistent Knight — The Armour Collection of Ferdinand von Habsburg

Photographed by Roberto Bigano for Franco Maria Ricci. Published 1992.

From 1577, Ferdinand of Habsburg, Archduke of Tyrol, assembled the most complete armorial Wunderkammer of the Renaissance at Ambras Castle near Innsbruck. His obsession was armour worn by the most famous military figures of his era — princes, commanders, mercenary leaders. Related by blood to the ruling families of Europe, he had access no collector before or after him could replicate.

The brief from Franco Maria Ricci: "Mr Bigano, bring me ghosts coming out from nowhere."

Armet combat helmet in German Style. Owner: John of Saxony. Goldsmith: Mattheus Deutsch, Landshut 1498.

The result was Il Cavaliere Inesistente — Italo Calvino's novel as the frame, Beaufort-Spontin's preface as the historical argument, Roberto Bigano's photographs as the evidence. 176 pages. 47 hand-applied colour plates on Fabriano blue-laid paper. Black silk binding with gold impressions. 3,000 numbered copies. Sold out.

One sequence was not in the book. The transparencies documenting the Hercules ceremonial armour of Maximilian II were the result of a dedicated colour developer — a personal formula designed to produce a three-dimensional effect. The series was lost after processing. Recovered twenty years later, they are published here for the first time.

Foot Tournament Armor. Owner: JArchduke Ferdinand II of Inner Austria, from 1619 Emperor Ferdinand II Goldsmith: Master I.O. Milano, 1600 Vienna Kunsthistorisches Museum. Photo by Roberto Bigano.

Foot Tournament Armour — Milan, 1600

Gold decoration covers every surface — helmet, breastplate, pauldrons, gauntlets — worked in dense foliate patterns on darkened steel. No surface was left plain.

The armour reads as a complete object, not an assembly of parts. Commissioned for tournament, not battle. The man who wore it needed to be seen before he moved.

Owner: Archduke Ferdinand II of Inner Austria, Emperor Ferdinand II from 1619. Goldsmith: Master I.O., Milan, 1600.

Tournament costume armor in the form of Lansquenets dress, 1525. Owner: Count Wilhelm von Roggendhorf, gifted by Charles V

Iron and Rivets — Tournament Costume Armour in the Form of Landsknecht Dress — Augsburg, 1525.

Beaten iron and rivets — no gold, no engraving. The decoration is the form itself: the armour replicates the slashed and puffed costume of the Landsknecht infantry in steel. Every fold, every ribbon, every seam pressed into metal.

The most feared soldiers of the 16th century wore cloth. Their commander wore this.

Owner: Count Wilhelm von Roggendorf. Gifted by Charles V. Goldsmith: Kolman Helmschmid. Carver: Daniel Hopfer. Augsburg, 1525.

Battle Armor by Jacob Hannibal von Hohenems, 1625

Battle Armour of Jacob Hannibal von Hohenems — Innsbruck, 1625.

The Crucifixion rendered in gold on the breastplate — Christ flanked by two figures, set against blued steel with engraved borders. A soldier's declaration of faith pressed into the surface of a weapon. The goldsmith is unknown. The choice of subject is not.

Owner: Henry of Rantzau. Goldsmith: unknown, Braunschweig, 1559.

Armor with Religious Carvings Owner: Henry of Rantzau Goldsmith: Unknown, 1559 From the Armour Collection of Ferdinand Von Hapsburg Vienna Kunsthistorisches Museum. Photo by Roberto Bigano.

Armour with Religious Carvings — Henry of Rantzau —  Braunschweig, Germany 1559

The Crucifixion rendered in gold on the breastplate — Christ flanked by two figures, set against blued steel with engraved borders. A soldier's declaration of faith pressed into the surface of a weapon. The goldsmith is unknown. The choice of subject is not.

Goldsmith: Unknown.

The Iron Mask. Combat helmet owned by John of Saxony 1498

The Iron Mask — Combat Armet, Landshut, 1498.

Plain steel, no decoration. The bolt reads as a mouth. The visor slit as eyes. The geometry of the face is the geometry of the helmet — nothing added, nothing removed. The oldest piece in the sequence and the most modern looking. Five hundred years have not aged it.

Owner: John of Saxony. Goldsmith: Mattheus Deutsch, Landshut, 1498.

Elegant armour in "German" style, 1485 owned by Emperor Maximilian I

Armour of Emperor Maximilian I — Augsburg, 1485.

The breastplate reads as draped fabric — radiating folds pressed into polished steel, a V at the centre, scalloped edges in gold. The goldsmith made metal behave like cloth. A back view that reveals more about the maker's ambition than any front view could.

Owner: Emperor Maximilian I. Goldsmith: Lorenz Helmschmid, Augsburg, 1485.

Combat Armor by Ottheinrich, Count of the Rhenish Palatinate, 1516

Combat Armour of Ottheinrich, Count Palatine — Augsburg, Germany, 1516

Polished steel with engraved borders — fleurs-de-lis across the helmet, foliate scrolls at the gorget and breastplate. The decoration is restrained, the form precise. A fighting suit built for a man who became Elector of the Palatinate. The goldsmith who made it also made armour for Maximilian I.

Owner: Ottheinrich, Count of the Rhenish Palatinate, later Elector of the Palatinate. Goldsmith: Lorenz Helmschmid, Augsburg, 1516.

Elegant Horse Armor, from the collection of Ferdinand II

Horse Armour with Human Figure — Owner and Goldsmith Unknown.

The horse wears a steel face. Below the neck, pressed into the chest guard, a human figure in relief — serene, eyes closed, arms folded, holding a shield.

The figure is not a decoration. It is a presence. Owne r and goldsmith unrecorded. The image speaks without them.

The “Hercules” decorated armor of Maximilian II

The Hercules ceremonial armour of Emperor Maximilian II was designed in Paris by Etienne Delaune, court artist and engraver, and executed by the Antwerp goldsmith Eliseus Libaerts.

Every surface carries a program — winged figures, the labours of Hercules, mythological scenes in relief on darkened steel with gold accents. One of the most complete surviving examples of 16th-century ceremonial armour as theological and political statement. These photographs were not in the 1992 FMR publication.

The transparencies were the result of a dedicated colour developer — a personal formula designed to produce a three-dimensional effect. The series was lost after processing. Recovered twenty years later, they are published here for the first time.

Ceremonial "Hercules" Armour, 1555. Owner, Emperor Maximilian II

The "Hercules" Ceremonial Armour of Emperor Maximilian II, Breastplate detail — Paris, 1555.

Winged figures flank a central flame. Below them, Hercules among the labours — bull, lion, serpent — in high relief against a ground of gold foliate work. Delaune's program read at the distance it was designed for.

Ceremonial "Hercules" Armor, 1555. Owner, Emperor Maximilian II

The "Hercules" Ceremonial Armour of Emperor Maximilian II, Front View — Paris, 1555.

The full programme visible as a complete surface. No plain steel anywhere — helmet, gorget, breastplate, pauldrons carrying the same density of carving from crown to shoulder.

Owner: Emperor Maximilian II. Goldsmith: Eliseus Libaerts. Carver: Etienne Delaune. Paris, France, 1555.

Ceremonial "Hercules" Armor, 1555. Owner, Emperor Maximilian II

The "Hercules" Ceremonial Armour of Emperor Maximilian II, Side View — Paris, 1555.

The profile reveals the helmet's form — the visor line, the comb, the curve of the skull — all carved. Delaune designed for every angle. Libaerts executed every angle.

Owner: Emperor Maximilian II. Goldsmith: Eliseus Libaerts. Carver: Etienne Delaune. Paris, France, 1555.

Ceremonial "Hercules" Armor, 1555. Owner, Emperor Maximilian II Back view

The "Hercules" Ceremonial Armour of Emperor Maximilian II, Rear View — Paris, 1555.

The back of the helmet carries the same programme as the front. Figures among foliage, the twisted comb as spine. Nothing was left for the man behind the Emperor to see except more of the same argument.

Owner: Emperor Maximilian II. Goldsmith: Eliseus Libaerts. Carver: Etienne Delaune. Paris, France, 1555.

Ceremonial "Hercules" Armour, 1555. Owner, Emperor Maximilian II Carvings Detail

The "Hercules" Ceremonial Armour of Emperor Maximilian II, Detail — Paris, 1555.

Hercules at centre, gold on darkened steel, flanked by the labours. At this distance the individual tool marks are visible. This is what the transparencies contained. This is what twenty years preserved.

Owner: Emperor Maximilian II. Goldsmith: Eliseus Libaerts. Carver: Etienne Delaune. Paris, France, 1555.

Armor with grotesque mask-style visor owned by Wolf Dietrich von Hohenems of Lansquenets 1525

Next Episode — The Anthropomorphic Armors.

Wolf Dietrich von Hohenems led the Landsknechts — the most feared mercenary infantry of the 16th century. In 1525 he fought at the Battle of Pavia in the service of Charles V. The face on the visor was designed to be recognised. It was also designed to frighten.

Il Cavaliere Inesistente, The Non-exhisting book cover

Il Cavaliere Inesistente, The Nonexistent Knight, by Italo CalvinoFranco Maria Ricci Editore 1992.
Photographs by Roberto Bigano.
Preface by  Christian Beaufort-Spontin

This book is based on a novel by the renowned Italian writer Italo Calvino. "Il Cavaliere Inesistente" (The Nonexistent Knight) is perhaps Calvino's finest narrative masterpiece, and it is unique in that it conveys a story where clothes don't merely define the man; they become the man.

176 pages.
47 hand-applied color plates.
Luxury Fabriano blue-laid paper.
Black "Orient" silk binding with gold impressions.
Circulation: 3000 numbered copies.


The book was sold out for decades once a recent discovery made a few units available for purchase again.
Buy >

Copyright Links and Credits

Photography, Copyright & Credits

All photographs © Ikonographia / Roberto Bigano — All Rights Reserved. Photographed at the Kunsthistorisches Museum, Vienna. The armour collection of Ferdinand von Habsburg is held permanently at the Kunsthistorisches Museum, Vienna.

Roberto Bigano photographed this collection for the Franco Maria Ricci Book "Il Cavaliere Insesistente.)"

Credits & Acknowledgments

Ikonographia gratefully acknowledges Christian Beaufort-Spontin, Director of the Arms and Armour Collection at the Kunsthistorisches Museum in Vienna, whose decision to close the museum rooms and grant full access made this work possible.

Terms of Use (Summary)

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