SoldatiniJuneJuly2015 PDF

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www.aurigapublishing.it BIMONTHLY JUNE - JULY 2015

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number 112
JUNE - JULY 2015
CREAZIONI
10 Alberto I Della Scala 90mm
by Fausto Scotton
18 AGINCOURT six hundred years later bust
by Angelo Amorese
22 Emperor Claudius 1/10
by Fabio Naskino Fiorenza
26 Elrond, the Elf 28mm
by Anna Shestakova
36 Ottawa Trail 54mm
by Claudio Clementi
38 The myth of the Guerre en dentelles
by Fabio Fiorentin
44 Storming Ahmednagar 54mm
by Maurizio Berselli
EVENTI
34 Abbiategrasso - Biamodelshow 2015

50 Calenzano - Frammenti di storia
ANGOLO UNIFORMOLOGICO
29 1808-1815. Neapolitan uniforms of

Murat period - part one
by Marco Pagan and Franco Saudelli
RUBRICHE
6 Parade
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Editorial Director
B
Thomas Abbondi rowsing the pages of a well known model magazine I read that they talk
about styles, meant as characteristics that distiunguish our subjects,
Publisher either figures or models. Particuraly they talk about national styles, (
Auriga Publishing International S.r.l.
the magazine deals with plastic modelling) like Spanish, Italian, Belgian
Administrative Office Surely also for figures we can recognize some schools: French, with oil paints;
Via Bressanone 17/1 - 16154 Genoa Spanish, that introduced acrylics; the first Italian, that used tempera. Then sty-
les evolved and in our world the styles, froma national became personal. There
Chief Editor
Thomas Abbondi are many that during the years have imposed their style to their works. The first
was Sheperd Paine, that inspired legions of modellers to give character to
Editorial Secretary painting, until then rather flat like Toys and to start modifing market items.
Giovanni Azzar
Style then evolved technically, it contaminated with new medium (acrylics),
Publishing Director new conception of light (diffused, zenithal) etc. What never changed anyway is
Alessandro Bruschi that only those who committed in the search of their style succedeed in our lit-
tle world. The risk that many have run, and that didnt overcome, was that of
Graphics
Cristina Bonanno conforming, copying the trend of the moment and painting pedissequaly, being
uncapable of distinguishing from the others. I remember contests in which I
Photography saw (and still see), clones of figures, all very beautyful, but all the same. Pay
Alessandro Bruschi
attention, Im the first to say to copy form masters. But what we need to do later
Contributors is to move on, once aquired the skills, adopting an unique style, own near to
Angelo Amorese, Maurizio Berselli, Claudio Clementi, Fabio Fiorentin, our tastes and our sensibility. A dear friend of mine, world renown painter, told
Anna Liviero, Fabio Naskino Fiorenza, Marco Pagan, Fausto Scotton,
Anna Shetakova me that he purchased the figures of another modeller to get the secrets, so
much that at the beginning he was nick named as the Italian clone of this
Translations modeller. During years he developed hi own sensibility and style and now he
Carlo Amandola is copied by many new and talented painters. Just let me say good bye with a
Publication registered at Court of Genoa on 03/04/2001 at no. 20. quote of the great singer Billie Holiday about music, but that is good for all
All rights reserved. No part of this magazine may be reproduced
without the prior written authorisation of the Publisher. arts: If you copy, it means that you are working without any real feeling.
2015 Auriga Publishing International S.r.l. There are no two people on earth who are the same, and the same its for
Via Bressanone 17/1 -16154 Genoa music, otherwise its not music..
Un abbraccio
Correspondence and Advertising
Redazione Soldatini Giovanni Azzar
Via Bressanone 17/1- 16154 Genoa - Fax +39 (0)10 6001907
E-mail: soldatini@aurigapublishing.it
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It is possible to request the elimination of personal data at any time by
writing to: Auriga Publishing International S.r.l. - Via Bressanone
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The editorial office reserves the right to adapt and summarise content in
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photographs will not be returned even if not published. The editorial office
shall not be held responsible for any damage deriving from the incorrect
application of the techniques described in the magazine.
Created in Italy
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BEST SOLDIERS
Prussian Infantryman 1870

75mm - White metal
Sculpting: Antonio Zapatero
Boxart:Danilo Cartacci
Website: www.bestsoldiers.com
Last issue from Best Soldiers, Marco Ganghinis company, is this Prussian
infantry man sculpted by talented and extremely prolific Antonio
Zapatero.
The subject, in 75mm, is portrayed in a relaxed pose wearing battle dress,
fully geared and ready to face what can be considered one of the most
important wars between the end of the Napoleonic age and World War
One, even if it lasted one year only. Inside the black box we find 24 parts
including a little setting. As usual for Best Soldiers items, there are seve-
ral options: in this case we have two heads, one wearing the typical
Pickelhaube, the other with a cap. About the Pickelhaube, there is a
spare one to hang on the rucksack if we decide to use the cap. Starting
from the helmet we notice the Spanish master sculpted them separately,
depicting two well-known variants; even the faces are different. The
sculpting is exceptional. The use of putty and files will be reduced, even
if the amount of fine parts will commit you in the assembly. As a fan of
this historical period I warmly recommend you to get one and with all
the gears you may enjoy to paint different materials and test your pain-
ting skills.
CRECY MODELS
King Edward III

54 mm
White metal
Sculpting: Antonio Zapatero
Boxart: Luca Olivieri
Website: www.crecymodels.com
I have to be honest; I had never seen a figure by Crecy Models until I went to a show and beca-
me fascinated by a piece on exhibit, Edward III, painted by a dear friend Luca Olivieri. I asked
around and discovered that the figure was the box art of Davide Ronchis firm. Once Id purcha-
sed one, I found a little gem in the box. The subject is sculpted by Antonio Zapatero and like
often happens with his works, there are several options. Besides the box art version, there is one
with one head wearing the helmet and chain mail, two arms, one right and left holding two dif-
ferent flags, one moved by the wind and one still; also there is a very useful soft metal sheet in
case we would like to make our own flag. The heads sculpted by Zapatero are totally different, a
clue for the quality. Sculpting, anatomy and details are perfect, nothing is left to chance, even the
sheath of the sword has the stitching on the back, typical of leather objects. Cleaning is minimal,
joints are sharp and need no filler; just suggested a good cleaning with soap and water. One advi-
ce only, in case one wants to replace the right arm with the one bearing the flag, youll have an
empty sheath, as the guard is cast with the right hand. I think all of us have a spare sword to over-
come this problem. Im not an expert of the Middle Age, even if I have always appreciated the
period and the works of great masters, but I can tell you that the subject is already cleaned and set
on a base, ready for painting!
PAGE 6
SOLDATINI 112
BIA MODEL SHOW
2nd Coldstream Guard Light Company Hougoumont 1815

54 mm
Resin
Sculpting and box art: Raffaele Nalin
info@biamodelshow.eu
During the first BIA Model Show

was released a figure sculpted and
painted by Raffaele Nalin. The
piece, in grey resin perfectly cast
depicts an officer of the 2nd
Coldstream Guard appearing from
the main door of the fortified farm
of Hougomont on 18th of June
1815 to definitively repel the
attack of the French. This was
surely one of the decisive episodes
that brought later to the defeat of
Napoleon at Waterloo. Raffaele
made an excellent job, not only
with the figure, with correct pro-
portions and fine details (the badge
on the shako is fantastic) but also
the setting. Our figure is leaning
against the wall, looking around
carefully. The piece is the first of a
tripotyque, or better a vignette,
that will be released for the next
BIA Model Show, always sculpted
by Raffaele. You only have to start
to collect them and get ready for
the next year contest!
PEGASO MODELS
Middle Age dummies

54mm
White metal
Sculpting: Luca Marchetti
Website: www.pegasomodels.com
This new issue from the Sienese firm founded by Luca Marchetti resumes the line of the last issues showed on these pages: two anatomic dummies, but
this time are for the Middle Age period. To be honest its not an absolute new, e.g. the Pegaso team has been using them for a long time to create won-
derful sculpting that we have learnt to admire during these years. Marchetti sculpted them a long time ago for internal use, but given the great success
encountered he decided to release them on the market for all the enthusiasts, and he did right, given I dont remember anything similar on the market.
Dummies are broken up in these main parts: helmet, torso and waist in one piece but movable, arms, legs, feet, hands spurs and protections for shoulders
and knees. Bust and waist are typically anatomic, so one has to com-
pletely sculpt the armour or the clothes. As for arms and legs, the
break up is clever and in the joints the metal is thinner, so to be ben-
ded into the desired position. Youll have to reconstruct the chain
mail. Possibilities are almost endless, especially if you get accessories
from the rich Pegaso range. I remember the items from ME-01 to
ME-012, all spare parts for the Middle Age period, suitable to be used
with these dummies. Ive never tried with scratch building a Middle
Age figure with armour, also scared by the idea of having to repro-
duce the smooth and symmetric surfaces, but with these dummies Ill
surely give it a go, finalizing a couple of projects I was thinking about
for a long time. A great product and a great intuition from the boys
of Pegaso, well done!
PAGE 7
SOLDATINI 112
DG MODEL
Roman Legionary, 1st Century AD

1/12
Resin
Sculpting: Dae-Hyoung, Kim
Boxart: Alex Varela Quiros
Website: www.artworkdg.com
E-mail: dgmodel@gmail.com
Facebook:
https://www.facebook.com/pages/DG-Artwork/1541206956092226?fref=ts
Korea is becoming more and more a forge of talents and sees the birth of new
manufacturers almost daily. Almost every company from this country have spe-
cialised with busts and this is no exception. DG Artwork is a firm created by
Dae-Hyoung Kim, nicknamed DG, a talented Eastern sculptor that cooperated
with another great Korean company, MJ Models. DG decided to start his own
business and release two busts; the first depicts a Roman legionary, holding the
gladius, ready to give a deadly blow. The bust is cut to the height of the waist, quite tall and therefore full of details to paint. Resin casting, maybe becau-
se we are used to very high standard from Korean firms, has some minor faults: a long and evident mould line on the right side and on both arms, anyway
nothing that cannot be solved in a few minutes with a file and a cutter. The other fault, if we can say so, is associated to the softness of the sculpting, bet-
ter the details. I dont know if it is due to the sculpting or the casting, but I opt for the former. Even in this case we are used to seeing crisp details on all
the surfaces, something less evident on this subject. They are the only faults that I see in a product perfectly made for anatomy, historical accuracy and
character. The face of the legionary is wonderful in biting his lips as a sign of stress. Very beautiful also the choice of including two shields, one full and
the other cut alongside the edge of the bust. Excellent and sharp the break up of the various parts that almost need no filler. Well hear more about DG,
you can bet on it.
Germanic Warrior
1st century AD
1/12
Resina
Sculpting: Dae-Hyoung, Kim
Boxart: Alex Varela Quiros
Second new release from Korean company DG Artwork is this proud and aggressive German warrior that makes the pair with the Roman legionary pre-
viously reviewed. It seems to live the moment of the Roman defeat in the Teutoburg forest. The battle, also called clades Variana (Variuss defeat), hap-
pened in year 9 A.C. between the Roman army lead by Publius Quintilius Varius and a coalition of German tribes led by Arminius, chief of the Cherusci.
The battle took place near the present day town of Kalkriese, in lower Saxony, and ended up in one of the most heavy defeats of the Romans: three whole
legions (XVII, XVIII and XIX) were annihilated, as well as 6 cohorts of infantry and 3 wings of auxiliary cavalry. To vindicate the honour of the defea-
ted armies, Romans started a seven year war, at the end of which they dropped any further attempt to conquer Germany; the Rhine consolidated as North-
Eastern border of the Empire for the next 400 years. The subject is depicted in a quite plastic pose, wearing a wolf skin, a lorica segmentata (segmented
cuirass) on the right arm and a long leather band on the left arm. He brings the axe on the side and the shield over
the shoulder. The simulacrum of a boar he is holding in his hand is really well made. The resin pole divided in three
parts could give some problems during the assembly even if the joints are excellent. Very good the reproduction of the
fur all over the subject and worth noting is the breakup of the teeth of the wolfs head that once fitted look the part.
Even in this case we find some mould lines too evi-
dent on both sides of the ferocious warrior, some-
thing that is not present in the other parts of the
kit. You will surely have great fun in painting it, the
subject offers in fact a wide variety of materials and
texture to reproduce. Recommended!
PAGE 8
SOLDATINI 112
PIVATO
Base with plexiglass cover

Plexiglass and wood
The prolific Dino Pivato always manages with his range of wonderful bases to satisfy even the most deman-
ding modellers. The shape and the essences you can choose from are almost endless and as you can read on
the sign on his desk, If you dont see it, ask. It often happens that you want to make a gift to a person and
that this one hasnt got a suitable glass case, or maybe you would like to show in the living room your best
figure; here that we need a cover ready to protect it. Dino has made a series of round bases, of various dia-
meters with a groove where to fit the robust and unbreakable plexiglass cover. Joints are perfect and the
cover is crystal clear. By request Dino can change the profile of the base and I think he may also make it
square. As usual call Dino or Andrea to ask also for what you dont see!
Coloured inks
A new product base on typographic ink is added to the metallic inks reviewed a few issues ago. These
typographic inks have a synthetic base; can be thinned with turpentine, white spirit etc Therefore
they can be mixed with oil paints and enamels to intensify hues but most of all to make light colours
more covering. Their covering power is due to the fact that they are highly concentrated, as well as
the metallic ink of the same series and just a drop makes the difference. Use them with parsimony
then. Dino and Andrea, besides the actual 12 hues, are thinking to enlarge the range, also following
the feedbacks of some of the best figure painters around the world that are testing them. If you buy
them, send you opinion to Dino and Andrea!
HYDRAMODELS
Bases
Various woods
Web site: www.hydramodels.com
E-mail: info@hydramodels.com
Facebook: https://www.facebook.com/hydramodels
In the competitive market of wooden bases, there is a new contender, Hydra Models
of Maurizio Ferrucci and Francesco Mecocci. The former a skilful modeller, the latter
a professional lathe turner formerly exclusive supplier of the wonderful bases of the old
Elisena. Strongpoint of their project is the constant search in new solutions of style and
trend to always give items of top quality, with a balance of shape and colours. They can
show also the brand Made in Tuscany, that acknowledges the excellence of Tuscan
made products. In the catalogue they have 10 ranges, that differentiate for the essen-
ces used: CHAOS: black walnut dark hue; PHANES: old walnut dark hue; ASTERIA:
olive dark hue; LELANTOS: oak dark hue; HYPNOS: thuya root; SELENE: eather
root; AETHER: ancient wood black hue; EREBUS: paduk and weng; ZEUS: black
walnut; ATHENA: old oak.
Essences and profiles of the base are not just those above. Guys at Hydra Models can
satisfy all the request of the most demanding modellers. As they say: we aim to per-
fection, in this case its a combination of small imperfections that blended together
give uniqueness and exceptionality to the objects and their shapes. The wood, living
material and never identical to itself, as well as craftsmanship, is tied to the laws of
imperfection and therefore to the uniqueness that encases the beauty, the elegance,
and the preciousness of the random and one-off.
I managed to get some bases of the above mentioned ranges and I was struck by clea-
ning and sharpness of the cut, by the professional finish and the amount of essences
and the variety of shapes, from bases for single items to those for busts and those for
horses, dioramas or military vehicles. If you are looking for a quality product at an extremely competitive price, browse the
web site of Hydra Models or send them an e-mail explaining your needs. Excellent!
PAGE 9
SOLDATINI 112
10 A 17 alberto:12 a 15 azeglio 15-06-2015 11:40 Pagina 10
Fausto Scotton
Figures depicting Italian knights of the period

are rare and to achieve what I had in mind I did
a lot of research, finding in the Pegaso catalo-
gue a Teutonic knight, item 90-910, that, with
the right modifications, would have looked the
part.
I started by removing the helm and replacing it
with a head of a crusader by Andrea that I had
in the spare box. Modification required a bit of
work, especially on the chain mail.
L
ord of Verona, Albert was a gifted lea-
der and chief of a military expedition
in November 1276 in the interest of
his brother Mastino, that had no title but
ruled the town and had promised the
Franciscan bishop Timidio (inquisitor in
Verona) the capture of the Cathars heretics
that had found refuge in the town of
Sirmione. About 160 heretics were taken,
chained and escorted to the prison of
Verona, placed under the protection of
Mastino himself until his murder that hap-
pened on the 17th of October 1277 organi-
zed by the Scaramelli and Pigozzo families.
Albert was appointed successor by the citi-
zenship and the town officers, giving him
plenty of power. The ceremony took place
in Piazza delle Erbe in late October 1277 Arena, tied and burnt alive on a great stake Clemente IV in 1267.
and the name chosen was Albert I. in this that was defined in the period chronicles as Albert believed that the murder of his
way the Lordship ofScala was born, whose spectacular. Executor was Franciscan friar brother wasnt caused only by personal hate
power became inherited and no longer Filippo that had returned from Rome with but the first act of a conspiracy against his
elective. The beginnings of his ruling were the order to accelerate the execution. This family. He published a proscription and
troubled, characterized by wars with neigh- fact brought a great reward to Verona, a made new laws that severely punished any
bouring towns and by the repressions of the personal gift from pope Nicol III, a castle riot or conspiracy. A special punishment
PAGE 11
captured heretics. On 13th of February and the revocation of the excommunica- was reserved for the instigators of the mur-
1278 the heretics were brought to the tion given to Verona and the Scala by pope der: their houses were razed and the rubble
SOLDATINI 112
With Duro I rebuilt part of the cloak onto which the winged crest leans, symbol of the Scala, built
using an old helm, emptied inside with a burr and applying wings cut from a lead sheet. The dogs
head is made from a piece of wood; nails are made with needle tips. The crest is tied with a chain
placed on the chest armour, suitable also to fix the sword and the dagger as common in that period.
Further modification was the covering of the

horse head with a crownpiece made in Milliput
and a mould in silicon rubber for metal casting,
thus creating the cover. Harnesses are made
with Milliput.
Reins are leather stripes onto which I glued buckles of the bite.
Blinkers are in white metal; once the master is done, I cast the metal.
A little mania is the scratchbuilding of the

shields. In fact I normally dump those in the
box, preferring to reconstruct them in wood
and coating them in leather, after making it
thinner and gluing it with Bostik. I mark with a
bodkin some grooves in the inside to simulate
the wood slats and I mark them in dark
brown, almost black, moving then to give a
couple of coats of mordant. If the result is too
matt, just a wash of glossy acrylic is enough.
Flag is made with Duro and Amgic Sculpt (60-40). The wooden pole comes from a cocktail stick thin-
ned down. The lance in white metal was cast in a mould of plaster, as silicon rubber was finished.
Paving was made with Das, using as templates

some aluminium tubes of various sizes, flattened
and shaped by hand.
Base is made by flatting and trimming walnut
wood that I treat in the old way, polishing it with
spirit and shellac.
used to pave a road.

Once peace was secured, he created the
Lordship of the Scala, concentrating in his
person all the power.
A talented politician, well-liked by most of
the citizens, he improved and constructed
many public buildings. The power and per-
sonal wealth of the Scala increased consi-
derably and also that of the citizenship.
Albert I was then the first Lord of Verona
and its thanks to him that Verona gained a
new political dignity. He died on the 3rd of
September 1301, leaving to his son
Bartolomeo as heir.
PAINTING
Wishing the figure decorated with flower
motifs similar to the armours and capari-
sons of Cangrande, Mastino II and
Cansignorio, I did research, finding in the
book Fabrics in Veneto, Venezia and
Mainland exhaustive references of impor-
ted textile art, with the production from
Middle Age to Modern Age of the various
types of fabrics, finding a clue from the ori-
ginal specimen of Verona fabrics coming
from the Far East with a typical motif.
Bibliograph y
Gli Scaligeri 1277-1387, Comune di
Verona, Mondadori Editore
Verona Romana Medievale Scaligera,
Mario Patuzzo, La Grafica Editore
Cangrande Della Scala, La morte e il corredo
After applying Tamiya primer I wanted to try something new for painting the inside of the cloak,
caparison and chain mail, that was different from the normal single tone colours. With an airbrush di un principe nel medioevo scaligero,
I applied the gold metal paint by Model Master, quite brilliant; after 4 days, when completely dry, I Marsilio Editore
laid on one side a bridal veil, made of a pattern of small rhombus, with repositionable adhesive Tessuti Nel Veneto, Venezia e Terraferma,
Spray Mount 3M, placing the long side of the rhombus in vertical and pushing with fingers, paying
attention that the fabric was properly attached to the piece. Just pay attention that this veil tends to Banca Popolare di Verona, out of production
lift up because the material its made from is elastic and tries to go back to its original flat shape,
especially in deep folds, and when you paint it could come up ruining the effect you want to create.
Best contrast on gold was, after several trials achieved with a mixture 60-40 of Dark Earth H72 and
Chocolate H406, both from the Gunze range, giving a quick coat and insisting only in the shade area
of the drapery. Once colour is dry and removed the veil, the result is guaranteed.
PAGE 14
SOLDATINI 112
Masked with tape the freshly painted area, I

applied to cloak, caparison and chain of mail the
Parchment White 70.820 by Vallejo. Once drawn
the flower motif, I made some masks with
masking tape (about 170), applying them on the
figure, later painted with airbrush applying
Vermillion Red 947 by Vallejo. Once dry I remo-
ved the masks and the inside of the flowers were
painted with Ultramarine Light Blue 839 by
Vallejo, leaving a thin white edge along the red
edge. On the 4 sides of each square I panted an
X with Deep Orange 851 by Vallejo, at the centre
of which I applied a drop of the same thick paint.
Also for heraldry I used the same light blue. The
inside of the stripes was painted with a mixture
30-40-30 of H310, H72 and Gold 996 Vallejo.
Conversion on PEGASO base

90mm
PAGE 16
18 a 20 amorese:12 a 15 azeglio 15-06-2015 11:44 Pagina 18
Angelo Amorese
PAGE 18
SOLDATINI 112
T
he Battle of Agincourt happened near Angevin feuds, including the Duchy of the French would have tried to impede his
the homonymous place in the now Normandy and part of Provence; the part of path, they would have done it at their own
Pas de Calais department, in the ransom of French King John II the risk, then he awarded the heralds with some
Northern France. On the 25th of October good (captured in Poitiers in 1356) not gold and settled his army in the village of
1415, during the Hundred Years War, it saw paid yet and finally to marry Catherine, the Maisoncelle.
the clash between the armies of Charles VI, daughter of King Charles VI of France. For At dawn of 25th of October 1415, day of
King of France, against the armies of Henry France there couldnt be a worst historical San Crispino and Crispiniano, the two
V, King of England. Because of the neat moment. The government of Charles VI, armies started to deploy. The French choo-
English victory, it is considered one of the called the mad because of his mental ill- se the plain between Agincourt and
darkest moments in the history of France, ness, had brought the country to anarchy, Tramecourt, to block the way to Calais;
and one of the brightest in English history. where Armagnac and Burgundy contended ordered on three ranks, the French line up
King Henry V became sovereign on 20th of power in the name of the demented king. foresaw the use of foot soldiers at the cen-
March 1413, when he was almost 26 years After the French refusal, Henry decided to tres, sustained by archers and crossbowmen
old. Gifted with a high sense of duty and act; during the march towards Calais the and, at the sides, heavy cavalry. Henry V
surrounded by a cavalry halo, Henry repre- French attempted several times to make deployed in three small formations the foot
sented the ideal archetype of medieval king ambushes against the British armies hoping soldiers, commanded by the Duke of York,
and was anxious to get honours on the bat- to weaken them that, arrived in Picardy by Lord Chamoys and the king himself.
tlefield, so to renew the victories of the pre- faced the French army. Notwithstanding Infantrymen were strengthened by archers
vious century achieved by his predecessor the negative opinion of the Duke of Berry, that, in triangular formations composed an
Edward III against the French Crown. In French noblemen approved a frontal attack attack line slightly concave. At 11 oclock
the same year (1413), Henry made an to annihilate the enemy. Two heralds were of 25th of October 1415 the battle started.
alliance with the Duke of Burgundy, John sent to Henry camp, to tell him that, becau- At the scream of Saint George, Saint
The Fearless and in August 1414 he se he had come to conquer the country, they George! the English army started to march
advanced such outrageous requests that would have fought him in any place and towards the French, seeking a clash; on the
PAGE 19
French king could but drop them. In shorts, time. Henry replied that he would have other hand, the French, far superior in num-
Henry claimed the Crown of France; the continued his march to Calais and that if ber and keen in ruling easily, now felt diso-
SOLDATINI 112
rientated. At about 200 meters, the archers evasive action to circle them around;
stopped and placed pointed poles in the actually a simple looting action by the Lord
muddy terrain and so shielded started of Agincourt, that even stole the crown of
throwing arrows on the French. Cavalry Henry, made think that the encircling had
tried and counterattacked, but the condi- been done. Effectively Henry, given the
tions of the ground and the shower of paucity of his forces and the large number of
arrows vanished the run of the knights that the French, still had for several days the fear
once arrived to the poles were easy prey for of a second French attack that could have
the enemy. The great column of foot sol- overthrown the situation.
diers instead advanced slowly in the mud. At 4 oclock in the afternoon the battle was
Only one frontal attack was brought and over, with a French defeat, where between
the English backed, but only for a few. 7000 and 15000 men died, including the
Henry attacked again and after another Constable of France, Charles I of Albret,
wave of arrows ordered a full charge, to and the brother of John the fearless,
which also the archers joined, equipped Philip, Count of Nevers, whilst others were
with light armour and in the bottleneck taken prisoner, like Jean II le Meingre, the
thus created that thousands of nobles, Duke of Orleans Charles and the other
counts and dukes from all over France fell. brother of John the fearless Anthony,
Many died immediately, others were captu- Duke of Brabante. It was a great victory and
red and killed, besides the fear of future Henry soon claimed his demands.
retaliation, also and mostly for the fear that For the 600th anniversary of this important
a possible French counterattack would have historic fact, I wanted to pay homage to one
lead the numerous prisoners to take the of the protagonists that has always fascina-
weapons on the ground and attack the ted me, depicting him immediately after the
English. battle, twisted, exhausted, sweaty and cold,
Part of the great French army (made up of imagining him immediately covered with
10000 infantry men and 8000 knights, or by the royal cloak, brought to him by the squi-
a total of 25000 men or, according to res.
Coville, 50000 men) in the specific the I used a head by Life Miniatures and a bust
third line, deserted en masse ingloriously, by Nuts Planet, remodelling with Milliput As usual I started painting from the face,
after having seen the tragic fate of the first the hood and some other details of the trying and accentuating the cold hues but
two, dispersing in the wood. But this left the clothing. keeping my usual palette made of oils:
English with the doubt that it could be an white, Naples yellow, Mars brown umber
and a drop of blue. With various hues of
earths and ochre I then painted the cloak;
metal parts (chain mail and armour plates)
were made by mixing typographic ink with
black, blue and earth oil paints.
The real trouble is in painting the heraldry:
fleur de lily and lions are large enough for
the details, but require extreme precision in
drawing.
Even if its been several years that I paint
them, in every scale, they always pose a
challenge to not underestimate.
Well, I had fun and Im rather happy with
the result; I always prefer to try and modify
the figure I make, not being content with
what is offered in the kit; I think its a way
to give life and better customize my work.
SOLDATINI 112
21 pubbla:Layout 2 13-04-2015 8:26 Pagina 1
22 a 24 emperor:12 a 15 azeglio 15-06-2015 11:46 Pagina 22
Fabio Naskino Fiorenza
T
iberius Claudius Caesar Augustus
Germanicus was the fourth Roman
emperor of the Julius-Claudia dyna-
sty, the first born outside Italy.
Claudius ruled from 41 to 54 a.C; according
to Svetonius, he was found by the praeto-
rians behind a tent, because he feared of
being killed by the plotters of the previous
emperor, (Caligula, his nephew) and was
proclaimed new emperor.
Considered by Tiberius an incompetent,
when he raised to the throne proved to
be a good emperor (although was
already 54 years old) even if he was vic-
tim of the unrestrained ambitions of
his two wives: Messalina, a woman of
lascivious habits and with many
lovers, from which he had two
sons, Octavia and Britannicus,
and Agrippina, that already had
a son, Lucius Domitius
Nobardus, that later forced
Claudius to adopt him; the
youngster later took the name of
Nerone.
The bust was sculpted by Victor Konnov
and was issued for the Lyon contest, the
Lugdum Show 2015, organized by Louis
DOrio.
PAGE 22
The bust is well cast; there are only some

minor imperfections, mainly on the cloak,
but nothing that some putty wont resolve.
SOLDATINI 112
Face received an acrylic base made up of flesh base and pink flesh from flesh paint set 75 by Scale.
I set up the first lights adding Vallejo flesh base and then pure flesh base and for the maximum light some Andrea white.
Shades were achieved with washes of India Shadows 75 on the temples and the side of the nose and African Shadows 75 on the cheek and lower part
of the face.
After having finished with the acrylics the result

was pretty good, but I wanted to work more
with oils on the face.
On a plastic dish I put a series of paints made of
Titanium Black, Burnt Umber, Dark Vermilion,
Venice Red, Dark Naples Yellow, Reddish
Naples Yellow and Titanium White.
I applied dots of paint on all the face spreading
with a flat brush and blending the hues fol-
lowing the light and shadow of the underlying
acrylic paint.
PAGE 23
SOLDATINI 112
On the torso I applied a coat of black primer

and started painting in red the cloak with Rojo
Negro plus Vallejo Military Black Green and a
drop of Tamiya X-21, then pure Rojo Negro,
Rojo Mate, Rojo Carmin and Berbellon Red.
Metals were made with enamels by Mr. Hobby,

that I found excellent, washed with black and
burnt umber oil paints and finally defined with
typographic inks by Pivato.
I washed it with soap and water to remove

any grease. The face is finely sculpted,
Konnov surely inspired to the Roman
period statue of the emperor.
After applying a coat of grey primer I star-
ted from the eyes.
I paint the sclera with lightened flesh tone,
I draw a very fine black line to simulate
eyelashes and delimitate the lower part of
the eye with a dark red line. I wanted to
direct the look slightly to the left, starting
to paint the iris with a blue grey hue and
lightening with other blue and light flesh
to give transparency; I then painted the
pupil at the centre with a small black dot
and applied some reflection with white,
finally I applied a wash on the side of the
sclera with dark red to simulate capillaries.
I had great fun I painting this figure, even
when they are Romans I dont miss a single
one.
Commemorative piece Lungdunum 2015

1/10th scale
PAGE 24
SOLDATINI 112
PAGE 25
SOLDATINI 112
26 a 28 elrond:12 a 15 azeglio 15-06-2015 11:48 Pagina 26
Anna
Shestakova
PAGE 26
SOLDATINI 112
He was noble and h andsome as an Elves king, strong as a warrior, wise as wizard, vene-
rable as a king of Dwarfs, and kind as psring, [ ] His h ouse was perfect, eith er you liked
food, or sleep, of work, or stories, or songs, or th at you liked just sitting and th ink, or even
if you loved a pleasurable combination of al th e above. In th at valley evil h ad never
enterd.
(J .R .R . Tolkien, Th e Hobbit)
I normally use acrylic paints Vallejo or those

from the old Ciatdel range to paint my figures.
Base colours are the following: VMC 70822-
German Camo Black Brown; VMC 70871-
Leather Brown; VMC 70828- Madera Caboa.
For the free hands motif I used Citadel Snakebite
Leather and VMC 70858- Ice Yellow.
Lights: every type of white is good, e.g. VMC
70919 Foundation White. For this I made some trials, testing several pat-
Shades: Citadel Liche Purple or VMC- 70810 terns on a sheet before finding a good scheme
Royal Purple; a dark blue, I used Andrea Colors to apply on the figure
Blue paint set 2nd shadow.
I started with the dark base (50% VMC 70828 +

50% VMC 70822) and the darkest hue of the
free hands motif (Citadel Snakebite Leather).
The free hands motif

continues: 50-50 mix of
VMC 70858 and Citadel
Snakebite Leather.
Further free hands lights

with VMC 70858
I added some pure white 70919 to enhance the contrast.

PAGE 27
SOLDATINI 112
The finished pattern. Few details added to the edge of the cloak. At the end I added some contrast to dark areas
with glazing of a mixture of Andrea Blue 2nd
shadow and purple VMC 70810.
GAMES WORKSHOP
28 mm
PAGE 28
SOLDATINI 112
29 a 33 tavole:12 a 15 azeglio 15-06-2015 11:49 Pagina 29
Marco Pagan Franco Saudelli
Joaquin Murat arrives in Naples on the 6th of September 1808 as new king. He is one month late and has already been rebuked by his
master; Emperor in fact wanted him at his job place already from the 1st of august. In the meanwhile, his possessions in the Granduchy
of Berg had been confiscated.
He, handsome, magnificent, happy, smiling at surrounding, powerful, lucky, warrior, had everything that people like, this is what Colletta
wrote about that day.
Propaganda depicts him as an Homeric hero, but the French prince is actually very anguished. After the failure of hi dream of sitting on the
Polish throne, he had hoped for the Spanish one, after having ruled the bloody riot in May, but his project had crushed. The Emperor, once
confiscated the Spanish crown, decided differently. Hi brother Joseph will go to Madrid and Joaquin the magnificent knight will replace
him in Naples.
The Kingdom of Naples looks like a second best solution but not only. Emperor move Joseph also because he ruled in an obedient but scar-
cely opportune way.
Joaquin has married the ambitious, beautiful and conjugally unfaithful Caroline Bonaparte, but for everyone he is the brave Achilles of the
Armee and could succeed where Joseph has failed.
An heroic general, precious on the battlefield but that is not loved by Napoleon. Even if the letters addressed to him since 15 august 1806
start with my brother, the Emperor always judges severely Joaquin and misses occasion to diminish his work. Napoleon, after all has con-
quered half Europe and above thrones he places prefects full of titles and wealth but without autonomy. Joaquin since the beginning of his
kingdom, aims to autonomy of government more than anything else. With great energy he will pursuit in Naples his programmes even if this
will place him in collision route with the Emperor first and then with all those that from the Emperor depend totally.
As soon as he arrives in the capitol Joaquin creates a national armed force that in his expectations should be loyal to him and represent a
pillar of his reigning dynasty. It will take time as he starts from an embarrassing economic deficit situation, with debts of 130 millions of
ducats. Neapolitans also are contrary to conscription and for all his reign effectives will be scarce.
Anyway Joaquin wants to reconquer Capri from the enemy, then it will time of Sicily. He wants to dictate his style, but to make stable hi
kingdom he needs glorious enterprises.
The fact that from the terrace of the royal palace, in clear days it is possible to see on top of the island of Capri a British flag, is not something
easy to accept. Of the enterprise is tasked General Lamarque, who his flanked by General Pignatelli-Strongoli.
PAGE 29
SOLDATINI 112
Plate 1
General Jean Maximien Lamarque, already
chief of the General Staff of the Neapolitan
Army under Joseph, is portrayed with a
non prescribed uniform quite rich in
embroidery and with scarlet trousers called
fantasy.
The dress, very rare, has a hunter cut
with the typical pointed cuffs and the roun-
ded chest turn-ups. The clothes showed are
part of a collection of items belonged to
the general and perfectly conserved, auc-
tioned in 1992. they witness the conspi-
cuous freedom of clothing for higher offi-
cers that were far from the eyes of the
careful Berthier.
Of the same collection there is also a cele-
bration picture that brings us the physio-
gnomy of the general, with his characteri-
stic aquiline nose and large eyes. From
right shoulder to left waist the general
wears the turquoise band of Knight of the
Great Cross of the Order of the Two Sicily.
On the chest the plaque of the Order.
The whole is finished with the accessories
like the plume with scarlet base, for divi-
sion general, made with plumes of heron
and ostrich. The original is still kept in a
cylindrical case. The oriental sabre on the
left side is out of order.
Early on the 5th of October the French-
Neaples troops land on the island.
Defenders dont receive reinforcements and
in the end, on 16th of October, Hudson
Lowe surrenders.
The general will leave on 17th of February
809 the Kingdom of Naples for a post in
the Armee dItalie.
The campaign of Capri will give Napoleon
the chance to critically remark the
triumphant order of he day of Joaquin that
glorifies the beahaviour of the nationals.
Napoleon, once read the document, will
define it ridiculous and will remind him
that it is the French Army that bears the
main effort. Besides, service communica-
tion must necessarily pass through the War
Ministry.
Actually Murat has only few units: two line
infantry regiments, one light infantry and
some squadrons of light cavalry. He doe-
snt have control of regular French units.
PAGE 30
SOLDATINI 112
Plate 2
Head quarter officer in service dress
The uniforms of the Naples Army
Headquarter are scarcely known. If most of
European armies have been the subject of
period prints published in Germany, this
was not the case for Naples forces. In the
introduction to the 1812 edition of his work
The French Imperial Army and its Allies,
Weiland himself complains for not depicting
the Neapolitans of Murat and the Spanish of
Joseph, not having being able o gather
detailed information on their uniforms.
During the two years of reign of Joseph, the
uniforms are a copy of the Transalpine ones,
with slight differences of colours and collar
patches. With the advent of Joaquin there is
a change. He worries about personal image
and of that of his followers, with variations
more and more accentuated with emancipa-
tion to give the impression that the Kingdom
of Naples is not a servile allied of the French
politic. The uniforms of Naples army had
never been so elegant and will never reach
again the pomp wanted by Joaquin. All
Neapolitans units will be able to show a lit-
tle more elegance than foreign competitors;
Neapolitan soldier shows off and this enthu-
siasm the crowd. Nevertheless, not even in
Naples prints appeared, even if a series of
water colours plates never published,
maybe incomplete remains. Dating is post
1812.
PAGE 31
SOLDATINI 112
Plate 3
A reconstruction of the uniform that maybe
was used by Pietro Colletta, then officer of
the Engineers. In his history of the Kingdom
of Naples, he states that he was tasked with
a reconnaissance action on Capri, that
French judged marginal. Physiognomy is
given by a period print.
PAGE 32
SOLDATINI 112
Plate 4
Elements of the elite companies of the units
tasked with the first attack wave to the
island. Amongst the involved units there are
elements of the Isembourg Regiment, at the
service of Naples.
PAGE 33
be continued
SOLDATINI 112
34 a 35 mostra 2:54 a 65 calenzano 15-06-2015 11:51 Pagina 14
During the week end of 20th 22nd of March, the first

edition of this contest took place, thanks to the oppor-
tunity given by the Municipality, and with the coopera-
tion of the Tourist Board, to use the prestigious setting
of the Monastery of Annunziata.
The model show allowed the organization of the Stresa
World Expo to continue that wonderful experience,
using the experiences developed for that event and
bringing to Milan a show worth its catchment area,
that includes many local clubs and many enthusiasts
that are not members of clubs and dont go to shows;
to renew interest was one of the main themes of this
event.
This first edition was a great success, with more than
200 modellers and 800 pieces on show, including col-
lectors pieces.
Hundreds of visitors came during the three days of
opening, in the wonderful Monastery of the
Annunziata. This monastery was made by Galeazzo
Maria Sforza as an ex-voto of 1469 and was destined
to the religious order of the Observing Minor. After
the suppression in 1810, for two centuries the chur-
ch was constantly transformed: from hospital to
warehouse, to factory and finally private house.
In 2003 the Abbiategrasso Municipality definitively purchased
the site and started restoration works that brought about an extraordinary discovery: the
finding of a whole series of frescos with the history of the Virgin, dated 1519 and made by painter
Nicola Mangone. Restoration work ended in 2007, and with the restoration of the whole building it
was the perfect setting for the BiaModel Show 2015.
This event involved also the citizens of the town, giving them the chance to get a glimpse of the
modelling world.
Other initiatives took place during the show: Jaume Ortiz gave a live demonstration of acrylic pain-
ting, with many enthusiasts watching it; there were several private collections dedicated to the
bicentennial of the Battle of Waterloo; groups of reenactors, particularly the historical group of XVI
century Kampfbaren from Trecate that evoked ancient events with the lansquenet.
The contest, with open formula, saw the assignment of about 150 awards, consisting of gold, silver
and bronze, besides many special awards; it was decide to opt for three Best, instead of a single one.
The aim of BiaModel is mainly that of aggregating rather than dissipating energies. It is necessary to
converge the energies of the movement in one direction, favour, spread and promote the world of
modelling beyond its traditional boundaries; we hope that BiaModel has succeeded in this aim.
SOLDATINI 112
34 a 35 mostra 2:54 a 65 calenzano 15-06-2015 11:51 Pagina 15
36 a 37 clementi:12 a 15 azeglio 15-06-2015 11:52 Pagina 36
Claudio
Clementi
T
hese two figures are part of a series of SCULPTING vinyl glue and ultra-fine sand.
four vignettes about the Fur War in The figures were sculpted and modelled Pieces were painted with acrylics paints,
North America that I sculpted for a with a mix of Duro and Green Fimo. The using oil paints to give the impression of
collector of the period, Carlo Mazzoni. Ottawa were sculpted joining anatomical humidity.
resin parts and metal wire; the heads are
The idea of the title The Ottawa Path from the Hornet range, the rest of the body This work is dedicated to my beloved part-
came to mind while walking on Broadway and clothing was sculpted. The courreor ner Maril
in New York that once was an Iroquois de bois is a conversion of a stock item,
track. Since always allied with France, The totally sanded and filed to be then sculpted.
Ottawa people were settled east of Huron Beard and hair have been made by finely
Lake; they lived on hunting, fruit and rolling some putty strings on a piece of
trade. They raided the English and their paper; rifles are modified commercial items.
allies. The most famous Ottawa chief was Setting was built with a pyramidal structu-
Pontiac that in 1763 created a great coali- re with Das and natural elements, trying to
tion praised for union and brotherhood of raise as much as possible the two figures to
the natives. Pontiac lined up alongside the give the impression they are looking at a
French against the British. promontory. Moss was made with a mix of
PAGE 36
SOLDATINI 112
36 a 37 clementi:12 a 15 azeglio 15-06-2015 11:52 Pagina 37
SCRATCH
54mm
PAGE 37
SOLDATINI 112
38 a 42 fiorentin:12 a 15 azeglio 15-06-2015 12:04 Pagina 38
Malbrough sen The last years of the XVII Century and the
first tens of the next one are often conside-
prerogative of the aristocrats that loaned to
the king during war, but a real armed arm of
vat- en guerre red by researchers as a rather insignificant the politics of the king: Ultima ratio
period for development in art of war and regum (strength is the last reason of king)
Folk French song of XVIII even less relevant for military personalities was cast on the guns that gave a grave voice
Century; th e text maybe is from that operated in that historical period. to the will of powers of the kings; sport of
th e Battle of Malplaquet, fough t Such judgment may have some fundament the kings was called the war. The rationa-
in comparison with the historical and mili- list zeal of the century induced the elabora-
on th e 11th of September 1709, tary happenings of the following century, tion of specific military rules that described
wh en J oh n Ch urch ill, first Duke where the brightness of Napoleonic star in every detail the cadence of the march,
was such to darken any other personality of the deployment, the manoeuvres in combat
of Marlborough was severely that troubled period of twenty years that, in , according more and more exact criteria.
injured. Most of h is military fact, is remembered for having been again- In the thirty years that span from 1690 to
st the Corse Ogre or with the Emperor. 1720 the role and use of new types of troo-
career was consecrated to figh t Surely the period named Marlburian ps were defined, like dragoons and hussars
against France and th ats th e Period (from the John Churchill, first in the cavalry, whilst the use in combat of
Duke of Marlborough, winner of four light infantry started (Micheletti, Panduri,
reason wh y th e French made a important battles of the Spanish Hayducken).
joke about h is death and fune- Succession War) was a transition period, Main personalities of the period elaborated
from the old warfare, typical of the XVII military doctrines mostly original and rich
ral. Century, to a new conception of war. Just of innovations that the generals of the fol-
Th e song wasnt successful until think about the innovations brought in the lowing period (Frederic of Prussia and
1781. Genevieve P oitrine, nurse armies at the turn of the century, the Napoleon above the others) would develop
uniforms, the equipment and warfare, the and bring to further perfection. Military
to th e first son of Luis XVI, siege techniques and the military campai- reports of the campaigns of generals like
used to sing it to th e prince: gns. XVIII Century saw the affirmation, Marlborough, Eugene, Carl XII of Sweden,
first in France then in the rest of Europe, of often written by themselves, will make up
Mary Antoinette played it with the adoption of uniforms for the troops, the livre de chevet of generals and mar-
h arpsich ord and it was known previously dressed according to the perso- shals of the empire that will face against
nal taste of the commanders and the eco- each other in the destructive wars of the
all over th e world. nomical possibilities of single soldiers. This Napoleonic age.
was in response to the national character, The technical corps and services, artillery,
and most of all central that sovereigns mineurs and pontonniers for first,
wanted to give to armed forces: no more during XVIII Century met a fundamental
Painting notes by Anna Liviero (Livianna)
Fabio Fiorentin
PAGE 38
SOLDATINI 112
development and a definitive affirmation as Coenhoorn. diers of fortune would have spared the civi-
crucial specialities for the logistic needs of A common place rather widespread tells lian population from troubles and suffe-
a modern army. The art of fortification and that the XVIII Century would have repre- rings.
siege reached, during the first years of sented a happy parenthesis in the fero- It is believed that this was the interest of
XVIII century, the apex of technical and cious history of wars of humanity, so to the sovereigns, worried that civilian popu-
scientific deepenings and the maximum deserve the benevolent definition of wars lation, the human raw material that for-
popularity, also thanks to the contribution in crochet (guerre en dentelle). It is belie- med such a precious part of their domains
of masters like the Marquis of Vauban in ved that the professional character of the and that supplied, with its work and taxes,
France and the Flemish Menno van armies and their composition largely of sol- a vital contribution to the survival of the
PAGE 39
SOLDATINI 112
army.
It is a myth to debunk.
Its surely true, in fact, that the merchant
conception of State management favoured
in sovereigns the idea that subjects were
more useful as producers of goods and tax
payers rather than in the army ranks: to the
latter they were destined the rejected from
society, poor, homeless, the non-producti-
in the style of making a war some sparkles ve elements of the foreigners: in other
of moderation of the violence and of words the expendables, of which nobody,
respect of the basic humanitarian princi- even less the treasury, would feel the loss in
state, which, if impoverished by the tre- ples. the case that they fall on the battlefield.
mendous losses that wars created in the The cost of professional armies would have Its also undisputable that sovereigns didnt
armies and deflected from trades and goods then induced the sovereigns to a careful use like the idea of using their precious armies
and wealth production, it would have given of them in field battles, risky and expensi- in a field battle: too risky and never decisi-
only disadvantages for the treasury. ve, so that war would have assumed a more ve, since that the defeated army could
Finally it has to be considered how the manoeuvred rather than fought character, disengage (it wasnt still invented the use of
excess of the wars of the previous century, aimed to get advantages of territorial type light cavalry to pursuit the enemy) and
made atrocious by religious integralism that (the possession of a strongpoint, the con- withdraw easily in friendly territory to reor-
had partially provoked them (Thirty Years trol of a strategic importance place) rather ganize.
War), had introduced in the art of war and than seeking the annihilation of enemy But this is not human conception of war,
PAGE 40
SOLDATINI 112
its cynical calculation. Mon.r du Catinat as long as civilians

Nor you may think that the war in the cen- wouldnt have made any retribution again-
tury of Light, was a clean business, desti- st them.
ned to end up without too much human Normally such agreements with the enemy
loss: despite rationalist theories, claiming had to be submitted to the Savoy Militry
the superiority of manoeuvred war against Commander of the area for his no impedi-
fought war, the conflicts of the XVIII ment to. In defect in fact, the village that
Century are scattered of little and large cla- would have paid the contribution to
shes, and when a battle was fought, if the avoid looting from the French, would have
result for defeated armies was catastrophic, been looted by the Piedmontese army, that
leaving thousands of dead on the battle- so would have punished them as collabo-
field, also for the winner the bill of the rators: immediately clear to the us Majors
butcher was always rather expensive. and others of this place, we sent to H.R.H.
Its also true, generally, that civilians were at the head quarter, Don Bernardo Dollaro
spared, but this didnt always happen, and, to inform of the will of finding an agree-
if you look at the Italian theatre, the figh- ment with the French to avoid destruction
ting armies often distinguished themselves of the neighbouring villages.
for brutality and rapacity. The systematic devastation of invaded
Just to give an idea of how gentle war was enemy territory was actuated by the French
at the end of XVII century and the begin- with the scrupulous zeal imposed by the victory. And we can only imagine what
ning of XVIII, we give here a brief summary evil refrain that Luis XIV war minister; kind of hell would have happened if the
of the exploits of the French army in Italy Marquis of Louvois, used to repeat at the French would have broken through the
and Piedmont: during the League of eve of the opening of the campaign (nor- walls Finally, one mustnt be misled by
Augusta War, fought at the end of the XVII mally conducted by France at the attack), the courtesy and kindness used by the ari-
century, the French destroyed None and to the marshals gathered in Versailles to stocrats of the period in every moment of
Rivalta, Carmagnola, Luserna, Barge and receive the latest instructions: Burn, burn their life.
Bibiana. They set on fire Grugliasco, looted well their country. And this was the viati- Its true that generals and commanders used
Rivoli and Orbassano and everywhere cum with which the generals of Luis XIV to exchange kindness and courtesies as per-
there were systematic rapes and raids. Any were saluted, and naturally no one of these fect gentlemen, but they have to be correc-
opponents were hung immediately. No aristocrats so well introduced at the court tly intended: it was first of all a sociological
mercy for elderly or children. In Cavour would have wanted to dislike the king, feature, common to all the century of the
the whole population, 800 people, were kil- behaving just less zealous in putting in light, natural reaction to the slovenliness
led by sword. In Pancalieri, where civilians practice the royal instructions for war. The of the previous century (its not a case that
had searched refuge in the church (didnt French minister was rational after all: in XVII century we have the epic of picare-
the French army carry the white cross of through the systematic spoliation of enemy sque, of Don Quichotte , of the trump
the Catholic French king Luis XIV on its territories invaded by French armies, it was humanity, often abject, described in many
flags?), the soldiers entered in the holy intended to annihilate the will to resist of historical novels). It was anyway a formal
place and killed everyone. In 1693, after the adversary, mining the moral and apparatus, to which there wasnt necessa-
the Battle of the Marsaglia, lost by destroying the economy, granting at the rily a correspondence of feelings or ideals of
Piedmontese, the winning French same time to his own army the availability the same degree: courtesy simply represen-
destroyed Piossasco, Scalenghe, of food and materials during military operated a behaviour code used exclusively in
Cercenasco and Revello, with the custo- tions. relationships with equals (e.g. aristocrats),
mary ritual of marauding, fire, destruction Again in 1706, to the French besieging as a tool of reciprocal social acknowledge-
and violence against the population. Turin, it was promised by their commander ment. This phenomena was accentuated
Against the abuse of the troops, priest and that, if they took the town, they could have amongst the cadets of aristocracy that,
local notables tried to oppose, sometimes looted it for three days, as a prize for the having embraced the military career, had
buying the benevolence of the officer to
make them keep quiet the troops. It wasnt
rare that an agreement was achieved
between officers and notables, foreseeing
the payment of a contribution in money or
other valuables for the safety of the village.
And it wasnt rare too that the notables
had to promise to keep their citizens quiet
to avoid organizing ambushes against the
occupants as retribution:
Yesterday morning the French have been
in this place foraging about 200 horses
beyond Cassine and Riva and Villanuova,
as soon as they arrived here they looted the
people and fields around San Martino,
taking about 200 animals besides clothes,
wine, bread, wheat and other things. For
crushing down several doors but having
arrived three officers, to whom the Priests
had offered food and drinks, those officers
stopped the looting and sent the troops
away and then told the priests that they
would have done no harm, and also that
they would have granted a safeguard by
SOLDATINI 112
with red cuffs.

Painting requires different steps. The first
layer of paint, commonly called first base,
is widely underestimated or applied with
little care whilst for me it represents half of
the work for a good final result. I applied
the first bases choosing a range of dark
hues, with sharp tones, the I lightened
more and more with paints of the same hue
but lighter until achieving the proper point
of light; its important to know where to
place lights and shade, to give the model as
much realism as possible. Normally I prefer
to paint by layers, starting from dark hues
that will be the shades to then research and
create with brilliant tones the lights.
For example, for the blue uniforms I started
from a deep blue to then create the light
blending it with light blue and a tip of
white. Same for the red uniforms: I started
from a brown to blend it with red. Unless it
is part of the uniform, I prefer to avoid
using black, even in shade areas, as it is a
entered the caste of the warlords mono- To well describe, on a military side, the colour not existing in nature. For the hor-
polizing the military management of the instrumentum regni of an Italian protago- ses I used a little trick: normally I seek for
wars, making money on the proceeds of the nist of the wars of early XVIII century, the maximum opacity of the paint, espe-
engagement of the soldiers of fortune and Vittorio Amedeo II Duke of Savoy, there cially for the clothes, with horses, after
the loots made in enemy territories and are the Savoy troops, still ducal and later, having applied an acrylic first base, I made
using military achievements to get benevo- after the Spanish Succession War, Royal lights and shades with oil paints. I like the
lence from the sovereign and the conse- Sardinian Troops. One of the most presti- idea of translucent fur, almost sweaty for
quential career advancements. gious regiments of the small Piedmontese the horses, that expresses the idea of a bat-
War is always war or, as the French would army was the Savoy Cavalry. In this feature tle going on or the fatigue of a long walk.
say, la guerre comme la guerre. the riders are dressed in the uniform used
until 1701, characterized by a blue jacket
PAGE 42
SOLDATINI 112
PAGE 43
SOLDATINI 112
44 a 48 berselli:12 a 15 azeglio 15-06-2015 12:10 Pagina 44
Maurizio
Berselli
T
he second Anglo-Marathi War star-
ted from the internal quarrels of the
Marathi Confederation. Peshwa Baji
Rao II was the official chief of the Marathi
but Princes Daulatrio Scindia of Gwalior
and Jaswant Rao Holkar of Indore had far
superior power and prestige. Baji Rao was
defeated by Holkar in the battle of Poon
on the 25th of October 1802; after the
defeat he sought refuge under British pro-
tection and, with the Treaty of Bassein, he
made an alliance with the British governor
of India, Lord Wellesley and the East
Indies Company. Lord Wellesley decided
to support the Peshwa. He reinstated the
Baji Rao in Poona on the 13th of May
1803 and started talks with Scindia but, in
early August the negotiation proved use-
less. Wellesley then moved against the two
main Marathi forces: a great army formed
by the armies of Scindia and the Raja of
Berar. Marquis Wellesley so formed two
armies, the Northern one, under the com-
mand of General Gerard Lake and the
Southern one, under the command of
Major General Arthur Wellesley, his youn-
ger brother. General Wellesley was aided
by the Hyderabad contingent of the East
Indies Company, about 9400 men strong,
commanded by Colonel Stevenson. Along
with the British army there were about
PAGE 44
5000 Indian volunteers of the light cavalry

of Mysore and Marathi. After a few days of
SOLDATINI 112
inactivity due to heavy rains, General

Wellesley moved towards the fortress of
Ahmednagar, defended by an infantry bat-
talion of Scindia and a unit of the cavalry;
the town refused to surrender and was then
attacked from three directions on the 8th
of August 1803. In the attack the 78th
Highlanders were involved. Attackers
easily passed the wall, low and lacking but-
tress, and then attacked the numerous
towers using long wooden ladders. After
hard fighting, the Highlanders beat the
strong resistance of the defenders, and star- of the 78th assaulting one of the towers from anatomies made using parts of various
ted the occupation fighting house by inside the fortress of Ahmednagar, in origin: lets see them: the two resin heads
house. On the 12th, after heavy bombing, Central India, in 1803. I was immediately are from Nemrod; the rounded shield is a
the survivors surrended, obtaining permis- struck by the great differences in the modified item from Pegaso Models, whilst
sion to leave. The British had only 18 uniforms, representing two distant and dif- rifle is from Metal Modeles. The part of
casualties and 61 injured. Scindia palace ferent worlds, in that moment in open ladder is from Tamiya; epaulettes, canteen,
was ransacked. The fortress of conflict. I decided to make the two cartridge pouch, feather, bayonet and
Ahmednagar, with its rounded towers is subjects in a position not depicted in the lower legs of the Scotsman are from Airfix
now an important tourist site; images of plate. I wanted to represent the crushing Collectors Series, the scimitar is from
this place are easily found on the web. British victory over the Indians, so I figu- Historex, whilst other anatomic parts, legs
red out a Scottish soldier that, once rea- and torsos are from Preiser.
THE SCENE ched the top of the tower, jumps on an
The idea of making this couple of figures Indian trying to hit him with the butt of SCULPTING
came after seeing the beautiful plate in the the rifle whilst crushing him on the ground I started assembling the various parts of the
PAGE 45
Ospry book number 166: the Battle of with his weight. From the pictures you can two bodies using brass rods of 1mm of dia-
Assaye. The plate depicts the Highlanders see that the figures were made starting meter. The feet of the Scotsman have two
SOLDATINI 112
rods that go one to the chest of the Indian the left shoe of the Scotsman, so to match their kilts dont wear any underpants, so,
and the other in the resin wall. After exactly the two parts. I went on inserting given the position of the figure, I had to
having created the right positions, neces- the support for arms made with brass rod. sculpt his genitals, easily visible.
sary for the balance of the figures, I started Once sculpting of the arms was over, The wall of the fortress was made with a
to work with Magic Sculpt, creating first always with Magic I sculpted the pointed piece of yellow resin by Bayardi, that I
the hair and the headgears of the two, then shoes of the Indian. Finally I added the worked a little with cutter and files. On
with putty sheet I made the kilt; I then various weapons and the buttons. The sil- the ground, besides the cannon balls, I pla-
continued with the rest of the clothes. In ver earrings of the Indian were made by ced a katar, the characteristic Indian dag-
the centre of the chest of the Indian, with curling a 0.3mm metal wire around a need- ger with the handle made of two parallel
Magic still fresh, I made the foot print of le. It is known that Highlanders under rods linked by one or two traverses that
make the grip,that has a straight blade
with a double edge, about 30 cm long.
Everything was painted using acrylics of
various brands.
BOOKS
The siege of Ahmednagar is inside the
historical novel Enemy territory by
Bernard Cornwell. Set during the Indian
conquest wars, the novel is part of the
series The Adventures of Richard Sharpe
and is preceded by The Challenge of the
Tiger and followed by Assault to the for-
tress. In these novels there is always an
excellent description of the battles, like
that of Assaye. The setting is accurate and
credible, as well as weapons and combat
techniques.
PAGE 46
SOLDATINI 112
PAGE 47
SOLDATINI 112
SCRATCH
54 mm
PAGE 48
SOLDATINI 112
49 sd prox copia:Layout 1 15-06-2015 12:14 Pagina 1
50 a 63 calenzano:54 a 65 calenzano 15-06-2015 12:21 Pagina 50
This year weve come to the 16th edition of

the contest Fragments of History, that took
place, as usual, with the period toy fair organi-
zed by the Club of Historical Figures.
CALENZANO, Firenze 14-15 march 2015
The numbers of the show were high: 430 pie-

ces in contest, modellers in the competition
were 90, almost equally divided between stan-
dard and master.
Head of the jury was this year Pietro Ciceri.
Judges were the members of La Condotta,
aided by experts for historical and uniformolo-
gical matters Giovanni Landi, Giovanni
Silvestre, Paolo Coturri, Ugo Barlozzetti,
Bruno Mugnai, Gilberto Chiari, Gianluca
Graziani, Riccardo Papi, Fabio Lorenzoni,
Marco Bini, Pietro Balloni, Ugo Baldino e
Fabio Mero.
The quality of the pieces in contest was high,
both in the standard and the master. On
Saturday afternoon, judgment moment, judges
had a hard time choosing the prize to award.
Also, the peculiarity of this contest to divide
the figure for historical period, makes of
Calenzano one of the most peculiar contests in
Italy and all over the world. Historical Best of
Show was awarded to a wonderful Zouave by
the Cannone brothers, whilst the Fantasy Best
of Show was awarded to Aleks Michelotti.
Talking always about awards, our Giovanni
Azzar received the one for career.
Final note on the market place, with about 90
traders it was worth a trip to Calenzano. And
dont forget the chance to win an original
piece by Mario Venturi in the lottery. See you
at Calenzano 2016!
SOLDATINI 112
1 2 3
4 5
1 - Riccardo Ruberti, Sikh infantry stan-

dard bearer
2 - Luca Olivieri, Edmund De Thorpe,
1415
3 - Salvatore Lamonaca, Darkwood
4 - Massimo Costa, Cardinal Richelieu
La Rochelle, 1627
5 - Roberto Del Cima, Trompette de
Granadiers cheval de la Garde -
Premio Soldatini
6 - Fausto Scotton, Alberto I Della Scala
7 - Maurizio Berselli, The Welsh
6 7
8 9 10
11 12
8 - Valter Borghini, Cavaliere Cinese

Dinastia Sung
9 - Ivo Preda, D'Hautpoul
10 - Maurizio Berselli, French
Knight
11 - Arianna Cipriani, Henry V
12 - Francesco Sapienza, Uff. Ussari
Guardia Imperiale Russa
13 - Enrico Azeglio, Uff. portasten-
dardo Granatieri, 1812
14 - Mirko Zoli, Cavaliere toscano
13 14
15 16 17
18 19
15 - Franco Gazzani, Sid

16 - Lorenzo Evangelista, Gladiatore
Trax
17 - N.P.
18 - Marco Chieffi, Samurai
19 - Maurizio Berselli, A French
Dream In Moscow, 1812
20 - Maurizio Berselli, Traveling
Alone, 1758
21 - Ivo Preda, Chasseur a cheval de
la Garde Imperial
22 - Lorenzo Evangelista, Battaglia di
Campaldino - Cavaliere Sestiere San
Pier Scheraggio
21 22
20
23 24 25
26 27 28
23 - Enrico Cigersa, Templar

Standardbearer
24 - Luca Olivieri, Ospitaller Knight
25 - Giuseppe Di Marino, Gladiatore
Scissor
26 - Fabrizio Marini, Mastino Della
Scala
27 - Enrico Cigersa, Roman Centurion
I a.D.
28 - Luca Olivieri, Edward III
29 - Maurizio Berselli, Furor
Teutonicus 9DC
30 - Salvatore Lamonaca, Lu Bue
29
30
31 32 33
35
34
31 - Giuseppe Di Marino, Fabbro
Vichingo
32 - N.P.
33 - Giuseppe Di Marino, Guerriero
Barbaro IV sec d.C.
34 - Coll. Baldino
35 - Maurizio Berselli, Celtic Warrior
36 - Riccardo Vandini, Waffwn SS
37 - Fratelli Cannone, Rgt. Tirailleurs
Algerians, 1870
38 - Riccardo Vandini, French Knight
1346
37
36 38
39 40 41
42 43
39 - Andrea Benussi, Pan & the Rainbow

40 - Fabio Funghini, Zeybek - ottoman
irregular militia
41 - Coll. Cicero, Gottfried Heinrich
42 - Luca Olivieri, John of Eltham
43 - Andrea Guidarelli, Teobaldo
Ordelaffi, 1242
44 - Aleksander Michelotti, La Somme,
1016
45 - Maurizio Berselli, Deerfield, 1704
45
44
46 47 48
49
46 - Ivo Preda, Victor

47 - Lorenzo Evangelista, Gladiatore
Murmillo
48 - Alfonso Desiderio, French Hussar,
Italia 1859
49 - Alfonso Desiderio, Russian Sailor,
Port Arthur 1904
50 - Tiziana Loretucci, Tomoe Gozen
51 - Enrico Azeglio, Uff.velita GR,
Napoli 1812
50 51
52 53
54 55
52 - Salvatore Lamonaca, the medieval

man
53 - Riccardo Ruberti, Gorchurra
cavalryman
54 - Maurizio Berselli, The Black
Prince, Crecy 1346
55 - Coll. Baldino, Kelekade
56 - Antonio Benin, Rivoluzionario
Francese
57 - Coll. Cicero, Albert di
Wallenstein
56
57
58 59
60
58 - Diego Ruina, Timballiere Lanceri

Rossi
59 - Mario Frata, Husaria (ussaro
alato)
60 - Mario Venturi, Charles Duc
D'Orleans
61 - Allevi-Cartacci, Napoleone alle
piramidi
61
62 63 64
65
62 - Coll. Cicero, Nils Brahe

1632
63 - Luca Olivieri, Union Officer
Cavalry
64 - N.P.
65 - Franco Gazzani, Duelling
Samurai
66 - Fratelli Cannone, 1 Rgt
Zuavi - Best of Show
66
67 68 69
70
67 - Coll. Cicero, Gustavo Adolfo re di

Svezia, 1632
68 - Coll. Barazza, Caporale Gran.
Guardia, 1870
69 - Coll. Cicero, Mattia Galasso
70 - Maurizio Berselli, Battle Of
Monongahela, 1755
71 - Mario Venturi, Richard Lord
Grey of Wilton cattura Jacques II
d'Harcourt, barone di Montgomery
71
72 73 74
72 - Olivieri-Alberici, French Drummer

73 - Fabio Funghini, Ufficiale Dei Dragoni Dell'Imperatrice 1815
74 - Enrico Cigersa, Sir B. Montgomery
75 - Mario Venturi, Agincourt
75
76 77
79
78
76 - Mario Venturi, Agincourt 1415

77 - Coll. Baldino, Norman Conquest
78 - Franco Gazzani, Culloden Moor
79 - Riccardo Ruberti, Sihk Akali
80 - Diego Ruina, Timballiere Lanceri
Berg
81 - Allevi-Ruina, Gaspar de Gueidan
82 - Coll. Cicero, Ottavio Piccolomini
81
82
80
66 sten:Layout 1 8-04-2015 17:53 Pagina 1
67 milistoria:Layout 1 10-04-2015 10:27 Pagina 1
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01 copertina ok:01 copertina 15-06-2015 11:24 Pagina 1

www.aurigapublishing.it BIMONTHLY JUNE - JULY 2015

JUNE - JULY 2015

34 Abbiategrasso - Biamodelshow 2015

29 1808-1815. Neapolitan uniforms of

Prussian Infantryman 1870

King Edward III

BIA MODEL SHOW

2nd Coldstream Guard Light Company Hougoumont 1815

During the first BIA Model Show

Middle Age dummies

Roman Legionary, 1st Century AD

Base with plexiglass cover

Figures depicting Italian knights of the period

Further modification was the covering of the

A little mania is the scratchbuilding of the

Paving was made with Das, using as templates

used to pave a road.

Masked with tape the freshly painted area, I

Conversion on PEGASO base

Fabio Naskino Fiorenza

The bust is well cast; there are only some

After having finished with the acrylics the result

On the torso I applied a coat of black primer

Metals were made with enamels by Mr. Hobby,

I washed it with soap and water to remove

Commemorative piece Lungdunum 2015

I normally use acrylic paints Vallejo or those

I started with the dark base (50% VMC 70828 +

The free hands motif

Further free hands lights

I added some pure white 70919 to enhance the contrast.

Marco Pagan Franco Saudelli

During the week end of 20th 22nd of March, the first

Painting notes by Anna Liviero (Livianna)

its cynical calculation. Mon.r du Catinat as long as civilians

with red cuffs.

5000 Indian volunteers of the light cavalry

inactivity due to heavy rains, General

This year weve come to the 16th edition of

The numbers of the show were high: 430 pie-

1 - Riccardo Ruberti, Sikh infantry stan-

8 - Valter Borghini, Cavaliere Cinese

15 - Franco Gazzani, Sid

23 - Enrico Cigersa, Templar

39 - Andrea Benussi, Pan & the Rainbow

46 - Ivo Preda, Victor

52 - Salvatore Lamonaca, the medieval

58 - Diego Ruina, Timballiere Lanceri

62 - Coll. Cicero, Nils Brahe

67 - Coll. Cicero, Gustavo Adolfo re di

72 - Olivieri-Alberici, French Drummer

76 - Mario Venturi, Agincourt 1415

IL GRANDE DISTRIBUTORE ITALIANO DI LIBRI STORICI,

Visita il nostro sito

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