allusion to Napoleon's alisolutistic regime and was 

 mockinoly called "Encclado" (Enchained). It al- 

 legedly caused serious troul)li- loi- Manl'icdiiii."' Hi- 

 was accused also of being the author nl the defanKi- 

 tory inscription natoleone on the lira piece of ISlO. 

 Cinecchi sa\s that contemporary in\esligat(irs were 

 luiahle to discover the author and diat onl\- Liter was 

 it known that Manfredini was responsilile for it.'" 



In his medals, as in his coins, Manfredini gi\'es 

 e\idence of an outstanding ;n-tistic .sensili\-ilv, and, 

 in addition, among his conteni[)oraries he excels 

 through a classical sim])licily of form. In his portrait 

 of Napoleon (fig. 7) he comes close to tlic perfect 



fig. 7. — Kingdom of It.ai.v, Napoij.on I, ',lire, 181 i, Mil.m 



mint '^ 



(Div. uf Numismatics plidtu) 



eciuihljriinn nf cducept and expressicm that is char- 

 acteristic of ancient ,trt. The fe.Uuii-s of .Wijioleon, 

 howex'er inipassi\e and remote in expression, are 

 not lifeless in their statuesque heautv. The well- 

 modeled relief suggests far more imiei life than 

 Tiolier's famous portrait of the Emperor (lig. .S). 

 The proportion between head and inscription aLso 

 finds a much happier solution in Maiilredini's 

 coinage than it does in Tiolier's. Remarkable \ er- 

 satility helped Manfredini change his style according 

 to subject. The portrait of Maria Louisa of Parma 

 (iig. 9), cla.ssical in its simplicity and purit\- cjf 

 form, follows a line that is suffused with lemiuinc 

 grace, in contrast to the rocklike massi\encss of Na- 

 poleon's hetid. 



"' CoMANDiNi (op. (it., p. 427) indicitrs lli.it he was foKcil to 

 leave Italy and that he returned only in 1 S I 4 with tin- .\usti i.nis. 



'' F. and E. Gnf.cchi, Lf mnnele ill Mihiim, \>. l\(y. Si-r ,iKo: 

 Carbonkri, p. 117; Patrignani, Rus.V (I'^l), vol. 2K, pp. 11 - 

 21 ; .?>f!imR (1948), vol. 14, p. 57; .A'«mrt (I'M')), vol. l.S, pp. 107- 

 lOK. 



'■'CM, vol. 5, p. 428, coin 82; 1',m:ani, Mmhli' ilahunr, i oin 

 98; Davenport, Eumpcan Crowns, c din 2112. 



Following a long-st.mding custom, .M.inlicthni 

 conceiilr.ited chielly on tiie m.iiu die-work, the culling 

 oi the ob\-erse design, which cousistetl of the ruler's 

 [jorlr.iit or a conipositioii, while the more p.itteiii- 



Fig. 8. — I'ranoI', .Xai'oi i;(in I, -, h.iiirs, year 13 



[1804 i8u-,| l)v fiolier ■■' 



(Div. ul Numisni.ilii s photo) 



bound work on the coat of arms of the icverse w;is 

 entritsted to atiother, less impoil.iiU artist. In 

 fact, the Itali.m coinage of N.ipoleon w.is aliiiosi 



Fig. 9. — Parma. M \ri\ l,o^l^A. ', lire, tBi", ■'" 

 (Uiv. of Nuniisnuilic s pholo) 



alw.i\s the work of Manlredini in .associ.uion with 

 two other artists, cither ,S,i|\ irch or N'.iss.dlo.-' 



Giuseppe Salvirch '- (cji i<_;iii,ill\ i'V.iii/ Joseph 

 .S.tlwirk or S.illwuerk) was iiorn in Molleiibert; near 

 Eind;iu, in W'urKembeiT;. in \1(>1. .\l the .ige of 

 seventeen In' c.nue to Mil.m, wheie he staited work- 

 ing at the miiU as an ;ippreiilice ol his uncle ( !hris- 

 topli W'ocher. chief enur.iM'r. Within a few ye;irs 

 he succeeded in establishini; his position at the miiU: 



I' D.wi Ni'oKr, I'umfhiin Cjnwtn, ( oin 8 V 



-"C.\l, vol. '1, p. S^^, eoin 4; l'.\(;\M, Mimrlr ilnliniif, ( oin 

 278; n..\vr\poRT, Emnluun Ciuir/n, eoin 204; Cakhonp ki. pp. 

 24~ 24'J, 2.Sln. 



-1 F.\nANi, Mmifh' iliiliiiiii-, coins 7.S 219. 



'-mn.M, vol. S, pp. ."520 :\21, and vol. 8, p. 186; Tini mi. 

 and Bi:i KI R, vol. 29, p. 369. Uoi./iM mai , p. 304. 



I'.Al'I'-.R :■>:•>: IT.ALIAN COIN KNGR.W'KKS SINCF. IKOH 



