ception and skill in ti.msniutins; esthetic and lunn.m 

 values into harmonious creations. Medals as a rule 

 are neglected because their wide variety surjsasses the 

 limits of this study; they are occasionally included to 

 cast light upon certain aspects of a particular artist, 

 and many times only one side is necessary for this 

 purpose. In the discussion of Neapolitan medals, 

 illustrations are drawn from publications b\- Ricriardi 

 and Siciliano and not (rum the famous collections 

 in the Naples Museum since these are onlv now in 



the jjrocess of being published. Unless oilicrwise 

 noted, the illustrated coins and medals are aeiu.ii 

 size. Man\' of the coins are in the national colleclioii 

 of the .Smithsonian Iristinuion. Sources of the phoio- 

 grajjhs are indicated with each legend. The author 

 is grateful to the .Ameiican Numismatic .Society for 

 sup|jlying many |)hotogi.i]ihs and to Mr. Josepli 

 Buweu and Mr. James Dugtjins dl' the Sinilhs(jiuaii 

 |)holotrra|)hic di\isioii fn their woik. 



TURIN 



At the beginning of the nineteenth centui\ , It.iK. 

 then only a grou]5 of inde|iendent states go\erned by 

 local and foreign dynasties, was on the threshold of 

 a tumitltuous era. New political ideals had arisen, 

 inspired in part b\- the fenrient of the French Revo- 

 huion and the Na|K)leonic wars. In a few decades 

 dedicated men like Mazzini. Garibaldi. \'ictor Em- 

 luanuel II, and tlount C'amillo C!a\iiur ]ir<iclaiiue(l. 

 on the basis of these ideals, the political credo of their 

 generation and after many battles welded Italy into 

 a united kingdom. 



The cultural development, as a reflection of the 

 political destinies of these various Italian states, 

 followed a tradition olteii determined onl\ b\ dvnastic 

 iiuerests and u.siiaily antagonistic to the naticMuilisiic 

 s|)irit. Artistic creations, and anions them the work 

 of the coin engravers, followed the general spiritu.il 

 trend, each monarclu with its own groups ol artists 

 working independently. L'ntil \'ictor Eiunianuel II, 

 assisted by C'ount C'avour, sitcceeded in Ibrginu the 

 political unity of the country with Rome as (In- 

 cajMtal, at least four luajor intellectual centers weie 

 (hscernil.)le: Tmin, Milan-\'enice, Rome, and N,i|)les. 



Turin, because of its geographical position, drew 

 its inspiration from Paris, where for centuries the 

 art of engra\ing had been eiiltixated and whrie it h.id 

 been brought to a liigh degree of perfection. 1 he 

 cult of personalil\ cherished by Louis Xl\ .mil 

 Napoleon Bonaparte h.id found able pioponcnts in 

 engravers like Augustin Dupie. Jean Pieiic Dro/. ,md 

 Pierre Joseph Tiolier. The portraits of e.uli rulei, 

 distant and im|)osing in their godlikeness, .issnmed 

 \arious forms of expression. Dining bonis X I \ 's 

 time the pomji of the e.xteiioi adorntneiu on the 

 figure ga\e majest\- to the rather impeisonal and 

 remote likeness of the kiu'^, w hile, later, Tioliei 's art 

 .succeeded in expressing an ex.ilted image ol the ruler 



with the simplicity of neoclassicism aiul the [isycho- 

 logical insight ol the post-Rons.sean peiiod. 



This direction in .irt. .don^ with all the othei neo- 

 classical tendencies of .X.ipoleon 1. found ,i ready 

 acceptance f)e\-ond the ,\lps. where the cult of 

 perfection of form, with its ncible simplii ii\, alieady 

 existed in a tradition lihcred through the Renais- 

 sance from classical titties. During the Empire 

 liericjd Italian engravers rixaled their French col- 

 leagues in rendering homage to X.ipoleon, ami his 

 portrait was the subject of m.iny oiitst.mdins il.ili.ni 

 artists. Manfredini's bust ol X.ipoleon (Fig. ") 

 can lie consider<'d .1 red rli.illetige to I iolier's jior- 

 trail of his I',mp<-i(ir (i'iu. H). 



PAPER 33: ITALIAN COIN ENGR.WKKS SINCh. ISdO 



