Page 85 - El arte del poder

figs. 17 Y 18
Lucio Marliani, child’s parade armor of Philip III, couters representing Victory and Fame, c. 1585. See cat. 58
Lucio Marliani, armadura de parada de Felipe III niño, codales representando la Victoria y la Fama, hacia 1585. Véase cat. 58
many others.6 Engravers worked closely with the armorer, and it was not unusual for them to be linked by family ties, as in the case of the imperial armorer Desiderius Helmschmid and his brother-in-law the engraver Jörg Sörg. The armorer might occasionally seek out an expert in a field he did not master. Indeed, Desiderius Helmschmid himself required the collaboration of the silversmith Jörg Sigman to make the parade armor worn by the future Philip II when still prince at the Diet of Augsburg, where the imperial succession was discussed (cat. 53-55).
Armor could bear all kinds of decoration that enhanced its symbolic meaning. Sixteenth-century armor is basically distinguished by the use of all the known decorative techniques and the exploring of new possibilities. Many of these techniques were previously known but had not been regularly employed in armor making. One of the earliest was embossing, which was used to enhance or model the decoration. The design was raised on the sheets of metal by hammering from the inside so that it appeared in relief on the outside. The raised design was usually finished from
producciones europeas fueron destinadas a Carlos V, su fami- lia y su entorno.
Los talleres alemanes e italianos de primer orden tenían necesidad de varios especialistas. Por lo general el armero se encargaba del diseño de las piezas, pero necesitaba un equipo de oficiales y aprendices, como bruñidores, grabadores, damas- quinadores o guarnicioneros, entre otros. El punto de partida de la predominante decoración grabada era un patrón, en oca- siones concebido y dibujado previamente por alguien ajeno al taller del armero. Se recurría a conocidos grabadores que en algunos casos también fueron conocidos pintores famosos, como Hans Burgkmair, Alberto Durero, Daniel Hopfer o Giulio Romano entre otros muchos6. Los grabadores traba- jaban en estrecha relación con el armero, no siendo extraños los vínculos familiares entre ellos, como los del armero impe-
84 las armaduras como obras de arte e imagen del poder