Fig. 8i. — Naples, Ferdinand II, and Maria Christina, 



obverse of medal, 1834 "^ 



(Photo from Ricciardi) 



Christina, was used on a medal (Hg. 81) signed by 

 Rega and executed by Laudicina.''" 



The portrait adopted for the gold, siher, and copper 

 coinage (fig. 82) from 1831 to 1835, or even 1839 to 

 1841, is undoubtedly copied from Rega's same model. 



Fig. 82. — Naples, Ferdinand II, piastra, 1833 '•" 

 (Div. of Numismatics photo) 



Since it is difhcull to trace similarities between the 

 more linearly treated engraving of coins and the high, 

 rounded relief of medals, doubt arises as to whom to 

 attriljutf the die execution, whether to Carricllo or to 

 Laudicina. To the latter point certain technical 



characteristics, as the treatment of hair and the gen- 

 eral design. A puzzling fact is that the only medal 

 bearing the exact same portrait as the coins is one 

 struck in 1840 on an octagonal planchet for the 

 inauguration of the first Italian railroad (fig. 83), 



Fig. 83. — Naples, Ferdinand II, octagonal medal, 1840; 

 commemoration of railroad from Naples to Nocera '°^ 

 (Photo from Ricciardi) 



a medal which clearly displays, under the kino's head, 

 the signature of a medallist called Benoist, whom this 

 author is unable to identify. 



One of Rega's collaborators was Achille Arnaud '^^ 

 (1790-1839), son of Michele Arnaud. In his younger 

 years Achille had assisted his father in the engraving 

 of coin dies. Later he was appointed prima incisore 

 dei rovesci (first engraver of reverses) and in this 

 position he prepared most of the punches for inscrip- 

 tions or ornamentations.'" Many of his works are 

 concealed by anonymity, and we can discern very 

 little about his artistic qualities from the few signed 

 medals. In Rlcciardi's work on Neapolitan medals 

 only two engravings (133 and 146) show his signature 

 on the reverse. The medal struck in 1825 has only a 

 simple emblematic representation, while the second 

 one, from 1830 (fig. 84), displays a complex composi- 

 tion of anemic inspiration and poor execution. 



In 1810 .Xchille Arnaud was commissioned to 

 create a 40-franc piece for the new coinage of Joachim 

 Murat, but his project was rejected by the director 

 of the mint, G. De Turris, as technically imperfect. 

 \'ery few of these 40-franc pieces survive since they 

 were consigned to the melting pot in December of 



■»-• Ibid., medal 162. 



w Michclc Laudicina, a cameo and shell engraver from 

 Trapani, was appointed engraver for reverses and medals. 

 The director of the mint, Baron F. Ciccarelli, had words of 

 high praise for his skill as diesinker. Sec Siciliano, fiCA'.V 

 (1939), p. 9. 



'" C.A.GIATI, fasc. 5, p. 136, coin 3; D'Incerti, RIN (1959), 

 p. 115, coin 172; Davknport, F.uropenn Crowns, coin 172. 

 "^Ricciardi, medal 171. 

 "9 SiciLIANO, Medaglie Nnpntelane, p. 3. 

 I'-SiciLiANo, ZJC.\:V (1939), p. 13. 



38 



BULLETIN 229: CONTRIBUTIONS FROM THE MISEUM OF HISTOR\' .XND TECHNOLOGY 



