CONTE BIANCAMANO Decked! by Peter Knego

When beloved ships such as the former FRANCE/NORWAY or HAMBURG/MAXIM GORKIY were recently sold for scrap, there was a hue and cry for certain architectural features, such as their funnels, to be preserved.

Although it could be argued such an undertaking is easier said than done, one rare example of preserving a substantial portion of an old ocean liner deserves special mention.

The Leonardo da Vinci Museum of Science and Technology, Milan.

It looms within the nondescript brick and glass structure of Milan’s Leonardo da Vinci Museum of Science and Technology. Towering over exhibits of sailing ships and canoes, the entire five deck forward portion of the 1925-built CONTE BIANCAMANO’s superstructure has been enshrined here since its careful removal, transport to Milan and painstaking rebuilding some forty six years ago.

Please click on image to view a larger version. All vintage images are copyrighted to the Maurizio Eliseo collection and all current images are by and copyright Peter Knego 2010, unless otherwise noted.

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Leonardo da Vinci Museum of Science and Technology

Mark Perry’s footage of CONTE BIANCAMANO on

Peter Knego’s Sea Treks Video, “CONTE BIANCAMANO, Then and Now”, on

The CONTE BIANCAMANO on trials in 1925, wearing her original Lloyd Sabaudo colors.

In 1925, the Scottish shipyard of William Beardmore and Company completed the 23,562 gross ton SS CONTE BIANCAMANO for Italy’s Lloyd Sabaudo to carry passengers from Genoa to New York.

Named for the Humberto Ui, who founded the Savoy, the BIANCAMANO was neither the largest nor fastest vessel of her type but she was nonetheless a handsome, well-proportioned ship with a vertical bow, gentle sheer, tall twin funnels and a counter stern. Initially, the vessel carried 280 first, 420 second, 390 third and 660 fourth class passengers. The twin screw liner, capable of 21 knots, was followed in 1928 by the similar, Trieste-built CONTE GRANDE. Internally, both ships were fitted in ornate, almost Baroque style by renowned interior architect Adolfo Coppedé.

CONTE B in Italia livery, circa 1932.

In 1932, the major Italian transatlantic passenger shipping companies merged to form Italian Line, and the CONTE BIANCAMANO was painted in their red, green and white funnel markings. She was switched to River Plate service until 1935, when she was commandeered for trooping duties to Massawa.

A rare view of the then all white “White Handed Count” in Lloyd Triestino’s livery, circa 1937.

In 1936, the CONTE B was chartered to Lloyd Triestino for voyages to the Far East but returned to Italia in 1939 for their South American run.

The USS HERMITAGE (AP-54) in drydock at Bethlehem Steel in 1947.

In 1941, she was seized at Cristobal and requisitioned for service as the World War Two troop transport USS HERMITAGE (AP-54). In 1947, upon completion of her trooping and repatriation duties, the USS HERMITAGE was returned to Italy and given her original name.

Arrival at Monfalcone for a complete overhaul and modernization, 1948.

In 1949, a virtually new ship emerges from Monfalcone.

The well-worn vessel was given a major overhaul along with the CONTE GRANDE. Were there not such an immediate demand for tonnage on the emigrant service, it is entirely possible both ships would have been disposed of in favor of building completely from scratch. Instead, the Italian government sponsored a contest among the nation’s interior and marine designers. For the BIANCAMANO, the work was ultimately awarded to Gustavo Pulitzer-Finale, Umberto Nordio, Alesandro Psarcaropulo and the legendary team of Gio Ponti and Nino Zoncada. Contributions by the finest and most influential Italian artists of the Midcentury era included Emanuele Luzzati (his first sea-going work), Marcello Mascherini, Marco Sirini and others.

The Renaissance begins: The CONTE BIANCAMANO on her post war trials, 1949.

And an aerial stern view at Genoa.

Modernized starboard superstructure towers over Trieste.

Externally, the BIANCAMANO received a new, raked bow, smaller, more modern funnels and sleek bulwarks that gave her a much more streamlined appearance. Her tonnage increased slightly to 23,562.

Ponte Sole.

Wheelhouse, facing starboard.

Port Sun Deck facing forward.

Ponte Lance.

Captain’s Cabin, facing forward/starboard.

Verandina cabin, facing port.

Ponte Passeggiatta.

The magnificently-rendered First Class Veranda by Gustavo Pulitzer Finale.

First Class vestibule balustrade, embedded with sculptures by Marcello Moscherini.

Models adorn the first class stairtower.

First Class Lounge, facing aft/port.

Forward/starboard corner of the First Class Lounge, featuring a wool tapestry by Mario Sironi.

First Class Writing Room, facing aft.

First Class Bar, facing aft.

First Class Dining Room.

First Class suite.

Many of the artists who contributed to the CONTE BIANCAMANO would also do work for the Italia, Lloyd Triestino, Costa, Home Lines, Incres and Adriatica newbuilds that followed through the mid 1960s. Two of them, Genoa-based Emanuele Luzzatti and Roncole-based Enrico Paulucci, contributed as late as 1971 to Sun Line’s STELLA SOLARIS (ex CAMBODGE).

Shared First and Cabin Class Cinema, facing port/forward

Cabin Class Smoking Room, facing aft/port.

Cabin Class Lido, facing port.

Cabin Class outside stateroom.

Tourist Class Ladies Sitting Room

Tourist Class Dining Room.

With a revised capacity of 215 first class, 333 cabin class, and 1030 tourist class, the BIANCAMANO returned to winter River Plate and summer New York service. Carrying wealthy Italian businessmen, clergy and tourists as well as emigrants seeking a better life, the CONTE BIANCAMANO and her equally stylish running mate, CONTE GRANDE remained successfully in service until 1960. By then, a new generation of Italian liners was on the horizon and both of these ladies were nearing the end of their useful lives.

The “face” of the CONTE BIANCAMANO as it appears today.

Aft portion of superstructure from the bottom level of the museum.

The BIANCAMANO went to La Spezia for scrapping, where her superstructure was carefully removed and shipped in sections via train to Milan where it was rebuilt and opened to the public in 1964. The equally splendid GRANDE was broken up in 1961.

CONTE BIANCAMANO Top to Bottom Tour: Today

Top Of The House

Over port wing from top of house.

Top of the house, facing aft.

Top of the house, facing forward.

Ponte Sole

Inboard from starboard wing.

Telegraph on starboard wing.

Port wheelhouse door.

Port Ponte Sole, facing aft.

Wheelhouse, facing port.

Chart room, facing starboard.

Starboard Ponte Sole, facing forward.

Ponte Lance

Captain’s Cabin, facing forward/starboard.

Midships Ponte Lance passage facing aft.

Port Verandina suite, facing port.

Suite sitting area.

Suite w/c.

Ponte Passeggiata

First Class Verandah Lounge, facing forward/port.

Port side of Veranda Lounge, facing forward.

Relief in the Veranda Lounge, starboard side.

Flying ram or bull detail in the gypsum ceiling composition depicting the “Legend of Jason” by Marcello Moscherini.

Veranda sconces and net panel by Righi.

More Veranda ceiling detail by Moscherini.

Although just the First Class Veranda portion of the ship is accessible to the public (it is also used for private meetings and gatherings), there are plans to open up the rest of the CONTE BIANCAMANO to small groups of visitors on guided tours. In the meantime, it is well worth visiting the Leonardo da Vinci Museum of Science and Technology to see this amazing, unique feat of ocean liner preservation in person.

The “face”, facing starboard from balcony perspective.

The “face” from forward.

Starboard side from museum balcony, just aft of the structure.

What a feat of engineering it took to salvage and rebuild the CONTE BIANCAMANO’s remains! Imagine if such a project were undertaken to save a portion of the first MAURETANIA, the second NIEUW AMSTERDAM or even the third FRANCE. One has to salute the directors of the Leonardo da Vinci Museum of Science and Technology and the City of Milan for having the vision and fortitude to make such a thing happen.

END: Posted on 7 April, 2010.  Updated April 24, 2010.

Very special thanks: Martin Cox, Maurizio Eliseo, Marco Lezzi

References: “Amare Un Cantiere: Egone Missio E Lo Stabilimento Di Monfalcone” by Maurizio Eliseo, “Crociere Nell’Arte: Cruising Into Art” by Matteo Fochessati and Paolo Piccione, “The Lido Fleet” by Peter C. Kohler, “Nino Zoncada” by Paolo Piccione, “Six Wonderful Days” by Paolo Piccione, etc., “Transatlantici, The History of the Great Italian Liners on the Atlantic” by Maurizio Eliseo and Paolo Piccione, “Trieste E Le Navi: Una Storia Per Immagini I Transatlantici” by Maurizio Eliseo and Claudio Erné

Leonardo da Vinci Museum of Science and Technology

Dedicated to the late Jan Loeff, foremost fan of the CONTE BIANCAMANO.

Peter Knego

Peter Knego

Having documented over 400 passenger ships and taken more than 200 cruises, MaritimeMatters’ co-editor Peter Knego is a leading freelance cruise writer, a respected ocean liner historian and frequent maritime lecturer both on land and at sea.  With his work regularly featured in cruise industry trades and consumer publications.  Knego also runs the website which offers MidCentury cruise ship furniture, artwork and fittings rescued from the shipbreaking yards of Alang, India.  He has produced several videos on the subject, including his latest, The Sands Of Alang and the best-selling On The Road To Alang."
Peter Knego

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