BIMESTRALE SETTEMBRE -฀OTTOBRE 2022

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156 www.aurigapublishing.it
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 NUMERO฀ 156

ANNO XXVI฀-฀SETTEMBRE -฀OTTOBRE 2022

CREAZIONI
16 Sergente฀volteggiatore 75mm
di฀Mark฀Chestnutt
18 Freddie,฀The฀King 220mm
di฀Giovanni฀Gombetti
26 Cadetto฀Regia฀accademia฀di฀artiglieria฀e฀genio 54mm
di฀Federico฀Bernini
32 Eagle’s฀Last฀Flight 54mm
di฀Maurizio฀Bruno฀e฀Danilo฀Cartacci

EVENTI
8 Eindhoven
44 Siena

RUBRICHE
6 Parata
 Date un’occhiata alla collezione Le Cimier, il numero è riferito al figurino.

Faites-vous฀plaisir,฀un฀coup฀dœil฀pour฀la฀collection฀Le฀Cimier,฀numéro฀figurines฀par฀chapitre.

Have฀pleasure,฀just฀a฀glance฀for฀Le฀Cimier฀collection,฀figurines฀by฀number฀section

35CE52C492DD11D9

2 3 4 5 6

32 8 9 10 P1010105 12

14

13 15 16 17 18

19 20 21 22 23 24

27
31

25 26 28 29 30

Per฀ulteriori฀informazioni฀visitare฀
http://historical-figurines.com o contattare vuyet.j@gmail.com
 S
Direttore฀Responsabile
Thomas฀Abbondi iamo raggianti per il Best Of Show di Eindhoven vinto dalla coppia Bruno-Cartacci.
Editore
Auriga฀Publishing฀International฀S.r.l.
Direzione฀e฀Amministrazione
Via฀Bressanone฀17/1฀-฀16154฀Genova
Capo฀redattore Senza sviolinare troppo, il punto è che si tratta di una sfida nella sfida, prima di tutto con se
Thomas฀Abbondi
stessi e poi con il resto del mondo figurinistico.
Grafica
Quello che rende eccezionale il pezzo dei nostri due è, assodata la piena maturità scultorea e
Cristina฀Bonanno pittorica, l’estremo bilanciamento di una scena complessa e dinamica nella quale si intreccia-
no diversi piani di lettura.
Consulenti฀e฀Collaboratori
Simon฀Antelmi,฀Federico฀Bernini,฀Mark฀Chestnutt, L’episodio storico, ovvero la cattura dell’Aquila, è il “pretesto” attorno al quale ruotano tutti
Paolo฀Di฀Marco,฀Giovanni฀Gombetti,฀Stephen฀Mallia i personaggi in una miscela di contrapposti: l’onore e la gloria fanno da contraltare alla pri-
mordiale lotta per la sopravvivenza, al disonore e perfino alla morte.
“Poste฀ italiane฀ S.P.A.฀ -฀ Spedizione฀ in฀ abbonamento฀ postale฀ -฀ D.L.
353/2003฀ (Conv.฀ IN฀ L.฀ 27/02/2004฀ N.46)฀ Art.฀ 1,฀ Comma฀ 1 L’opera si compone di tre scene distinte che però si compongono in un insieme organico men-
NO/GE/99/2019฀del฀29.01.2019”
Iscrizione฀al฀R.O.C.฀6599
tre il fato riserva un destino diverso ad ogni personaggio, in parte conseguente delle sue azio-
ni in parte dettato dal caso.
Tutti฀i฀diritti฀sono฀riservati.฀Nessuna฀parte฀dei฀testi฀e฀delle฀illustrazioni
può฀ essere฀ riprodotta฀ senza฀ l'autorizzazione฀ scritta฀ dell'Editore.฀ © Lontana anni luce da lavori espressione di vuoto virtuosismo o peggio di tecnica immatura,
2022฀Auriga฀Publishing฀International฀S.r.l.
questa scenetta rappresenta un autentico faro nel mondo del figurinismo e non mancherà di
Abbonamenti฀e฀arretrati ispirare altri a superare i propri limiti.
Abbonamento฀annuale฀per฀l’Italia฀€ 32,00,฀
Abbonamento฀annuale฀per฀l’Europa฀฀€ 60,00 Il Best of Show altro non è stato che un atto dovuto.
Overseas฀yearly฀subscription฀฀€฀75,00
Copie฀arretrate/Back฀issues € 10,00 Complimenti vivissimi a Maurizio Bruno e Danilo Cartacci.
+฀spedizione/postage:
+฀5,00฀€ Italia฀corriere฀espresso
+฀10฀€ Europe฀surface฀mail ***
+฀15฀€ Overseas฀surface฀mail
Copie฀arretrate฀per฀abbonati฀Italia฀€ 9,00
+฀5,00฀€ di฀spedizione฀con฀corriere We are joyful for the Best Of Show in Eindhoven won by the Bruno-Cartacci couple.
(previa฀conferma฀disponibilità)
pagamento฀su฀C/CP฀27524131฀intestato฀a: Without going too far, the point is that it is a challenge within the challenge, first of all with
Auriga฀Publishing฀International฀S.r.l.
Via฀Bressanone฀17/1฀-16154฀Genova oneself and then with the rest of the figurine world.
specificando฀sulla฀causale฀il฀nome฀della฀rivista,฀i฀numeri What makes the piece exceptional is, given the full sculptural and pictorial maturity, the extre-
richiesti฀e฀l’indirizzo฀del฀richiedente฀e฀recapito฀telefonico.
Informazioni:฀info@aurigapublishing.it me balance of a complex and dynamic scene in which different levels of interpretation are
Stampa
ARTI฀GRAFICHE฀GIUSEPPE฀LANG฀-฀Genova intertwined.
Distributore฀per฀l’Italia฀e฀per฀l'estero:
SO.DI.P.฀SpA,฀Via฀Bettola฀18,฀
The historical episode, that is the capture of the Eagle, is the "pretext" around which all the
20092฀Cinisello฀Balsamo฀(MI)฀ characters revolve in a mixture of opposites: honor and glory are a counterbalance to the pri-
Tel฀+3902/66030400,฀FAX฀+3902/66030269฀
sies@siesnet.it฀-฀www.siesnet.it฀ mordial struggle for survival, dishonor and even to death.
Corrispondenza฀e฀pubblicità
Redazione฀Soldatini The work consists of three distinct scenes which, however, are composed into an organic
Auriga฀Publishing฀International฀S.r.l. whole while fate reserves a different destiny for each character, partly resulting from his
Via฀Bressanone฀17/1-฀16154฀Genova฀-฀Fax฀010฀8397237
soldatini@aurigapublishing.it actions partly dictated by chance.
Valido฀listino฀prezzi฀n°฀1
Light years away from works that express empty virtuosity or, worse, immature technique, this
Garanzia฀di฀riservatezza
L’Editore฀garantisce฀la฀massima฀riservatezza฀dei฀dati฀personali฀in฀suo
work represents an authentic beacon in the world of figurinism and will not fail to inspire
possesso.฀ Questi฀ saranno฀ utilizzati฀ esclusivamente฀ per฀ la฀ gestione others to overcome their own limits.
degli฀abbonamenti฀e฀per฀l’eventuale฀invio฀di฀informazioni฀commer-
ciali฀inerenti฀alle฀proprie฀iniziative฀Art.฀13฀legge฀n°฀675/96.฀Si฀potrà The Best of Show was nothing more than a duty.
richiedere฀in฀ogni฀momento฀la฀cancellazione฀dei฀dati฀scrivendo฀a:
Auriga฀Publishing฀International฀S.r.l.฀-฀Via฀Bressanone฀17/1฀-฀16154 Heartfelt congratulations to Maurizio Bruno and Danilo Cartacci.
Genova
La฀redazione฀si฀riserva฀il฀diritto฀di฀adattare฀e฀riassumere฀i฀testi฀per฀esigen-
ze฀di฀stampa฀ed฀obiettività.฀I฀manoscritti฀e฀le฀fotografie฀anche฀se฀non฀pub-
Thomas Abbondi.
blicati฀non฀si฀restituiscono.฀La฀redazione฀declina฀ogni฀responsabilità฀per฀i
danni฀derivanti฀dall’incorretta฀applicazione฀delle฀tecniche฀descritte฀nella
pubblicazione.

Created฀and฀printed฀in฀Italy
 SCALE EDITIONS

TIMELINE฀COLORS,฀a฀lifetime฀painting฀miniatures฀

Questo฀bel฀volume฀di฀Pepe฀Gallardo฀recentemente฀pubblicato฀da฀Scale฀Editions฀nella฀duplice฀versione฀in
lingua฀spagnola฀e฀inglese,฀con฀solida฀rilegatura฀e฀buon฀formato฀(296฀pagine,฀56฀euro฀circa),฀costituisce฀un
lungo฀e฀piacevole฀viaggio฀attraverso฀trent’anni฀di฀figurinismo฀mondiale฀visto฀attraverso฀gli฀occhi฀del฀Pepe
(nato฀nel฀1963)฀e฀i฀suoi฀molteplici฀lavori.฀Per฀il฀lettore฀significa฀incontrare฀tante฀figure฀che฀hanno฀fatto
la฀storia฀del฀nostro฀hobby฀e฀approfondire฀la฀conoscenza฀della฀“scuola฀spagnola”฀di฀cui฀Pepe฀può฀essere฀con-
siderato฀il฀fondatore฀ed฀è฀tuttora฀uno฀degli฀esponenti฀più฀prestigiosi.
Alla฀ prefazione฀ di฀ Fabio฀ Nunnari฀ (chi฀ se฀ non฀ lui!?)฀ seguono฀ i฀ saluti฀ e฀ i฀ ricordi฀ di฀ Bill฀ Horan,฀ Stefano
Cannone,฀Adrian฀Bay,฀Mike฀Blank,฀Julio฀Cabos,฀Danilo฀Cartacci.฀Nella฀parte฀biografica฀il฀Pepe,฀con฀dis-
armante฀sincerità,฀ci฀narra฀la฀storia฀della฀famiglia,฀i฀suoi฀sogni฀di฀bambino฀e฀di฀ragazzo,฀l’incontro฀con฀il
figurino฀ storico,฀ le฀ prime฀ pitture,฀ la฀ scoperta฀ dell’acrilico฀ attraverso฀ la฀ scuola฀ di฀ Malaga.฀ Poi฀ le฀ prime
mostre฀in฀Spagna฀e฀altrove,฀i฀prestigiosi฀riconoscimenti,฀i฀viaggi,฀gli฀incontri฀internazionali,฀il฀consoli-
darsi฀della฀fama฀in฀virtù฀dell’abilità฀con฀il฀pennello,฀le฀innumerevoli฀amicizie฀con฀i฀più฀noti฀esponenti฀del
modellismo.฀Molti฀hanno฀qui฀lasciato฀una฀personale฀testimonianza฀ricordando฀momenti฀di฀vita฀con฀lui,
da฀ Luca฀ Baldino฀ a฀ Pepa฀ Saavedra,฀ da฀ Maurizio฀ Bruno฀ a฀ Jesùs฀ Gamarra,฀ da฀ Antonio฀ Meseguer฀ a฀ Juan
Carlos฀Avila฀Ribadas...฀
La฀galleria฀artistica฀dei฀lavori฀presentati฀nel฀corpo฀centrale฀del฀libro฀è฀amplissima,฀divisa฀in฀periodi฀stori-
ci฀(dall’antichità฀al฀XX฀secolo,฀oltre฀ad฀una฀sezione฀fantasy)฀e฀consente฀uno฀sguardo฀a฀360฀gradi฀sulla฀pro-
duzione฀trentennale฀delle฀ditte฀più฀famose฀(alcune,฀purtroppo,฀cessate!)฀e฀nelle฀scale฀più฀diverse:฀48,฀54,
75,฀90,฀120,฀200฀mm.฀nonché฀i฀busti฀in฀1/16฀e฀1/12.฀Alle฀descrizioni฀più฀sintetiche฀e฀sommarie,฀essenzia-
li฀comunque฀per฀una฀panoramica฀delle฀sue฀tantissime฀opere,฀si฀alternano฀alcuni฀“tutorial”฀dove฀la฀lavo-
razione฀è฀illustrata฀in฀modo฀più฀ampio฀(anche฀10-12฀pagine)฀e฀il฀discorso฀si฀fa฀più฀specifico฀e฀tecnico.
Emerge฀tutta฀la฀sua฀abilità฀nell’integrare฀la฀figura฀con฀l’ambiente฀e/o฀il฀terreno฀circostante฀in฀un฀conte-
sto฀originale฀e฀armonico.฀Moltissime,฀ovviamente,฀le฀fotografie฀sia฀dei฀soggetti฀dipinti฀sia฀di฀momenti฀par-
ticolari฀e฀dei฀personaggi฀incontrati.
In฀conclusione฀quasi฀trecento฀pagine฀da฀sfogliare฀e฀godere!฀฀

This beautiful volume by Pepe Gallardo recently published by Scale Editions in the double version in Spanish and
English, with solid binding and good format (296 pages, approximately 56 euros), constitutes a long and pleasant
journey through thirty years of world figurinism seen through the eyes of Pepe (born in 1963) and his many works.
For the reader it means meeting many figures who have made the history of our hobby and deepening the kno-
wledge of the "Spanish school" of which Pepe can be considered the founder and is still one of the most prestigious
exponents.
The preface by Fabio Nunnari (who but him !?) is followed by the greetings and memories of Bill Horan, Stefano
Cannone, Adrian Bay, Mike Blank, Julio Cabos, Danilo Cartacci. In the biographical part, Pepe, with disar-
ming sincerity, tells us the story of the family, his dreams as a child and as a boy, the encounter with the histori-
cal figure, the first paintings, the discovery of acrylic through the Malaga school. Then the first exhibitions in Spain
and elsewhere, the prestigious awards, travels, international meetings, the consolidation of fame by virtue of the
skill with the brush, the countless friendships with the most famous exponents of model making. Many have left
a personal testimony here recalling moments of life with him, from Luca Baldino to Pepa Saavedra, from Maurizio Bruno to Jesùs Gamarra, from Antonio Meseguer to Juan
Carlos Avila Ribadas ...
The artistic gallery of the works presented in the central body of the book is very large,
divided into historical periods (from antiquity to the twentieth century, as well as a fan-
tasy section) and allows a 360-degree look at the thirty-year production of the most
famous companies (some, unfortunately, , stop!) and in the most diverse scales: 48,
54, 75, 90, 120, 200 mm. as well as the busts in 1/16 and 1/12. The more concise
and summary descriptions, essential in any case for an overview of his many works,
alternate with some "tutorials" where the work is illustrated in a broader way (even 10-
12 pages) and the discussion becomes more specific and technical. All of his ability
emerges in integrating the figure with the environment and / or the surrounding terrain
in an original and harmonious context. Obviously, there are many photographs of both
painted subjects and particular moments and characters encountered.
In conclusion, almost three hundred pages to browse and enjoy!
Paolo Di Marco
PAGE 6

SOLDATINI฀156
 L’IPPOCAMPO EDITORE

INFOGRAFICA฀DELLA฀ROMA฀ANTICA

Guardare฀le฀immagini฀per฀capire฀i฀concetti฀e฀studiare฀i฀fenomeni฀non฀è฀scoperta฀recente.฀Le฀imma-
gini,฀infatti,฀si฀imprimono฀nella฀nostra฀mente฀in฀modo฀immediato,฀con฀maggior฀forza฀e฀facilità฀della
sequela฀delle฀parole฀scritte,฀che฀sono฀pur฀sempre฀un฀codice฀da฀decifrare.฀
Alla฀base฀di฀questa฀pubblicazione฀“Infografica฀della฀Roma฀antica”฀(130฀pagine,฀19,90฀euro,฀dimen-
sioni฀generose,฀cm.฀29,5฀x฀23,฀5)฀c’è฀proprio฀quest’idea.฀Invece฀di฀affrontare฀un฀ponderoso฀volume
e฀perdersi฀nelle฀sue฀pagine฀alla฀ricerca฀di฀quanto฀ci฀interessa,฀il฀testo฀offre฀con฀immediatezza฀quan-
to฀serve฀attraverso฀le฀infografiche,฀cioè฀rappresentazioni฀visuali฀di฀concetti฀e฀dati฀espressi฀con฀l’u-
tilizzo฀combinato฀di฀testi฀e฀immagini฀(istogrammi,฀grafici,฀diagrammi,฀tabelle,฀mappe).฀Il฀significa-
to฀è฀insito฀nella฀parola฀stessa,฀che฀unisce฀i฀termini฀inglesi฀information฀e฀graphic฀(informazione฀e
grafica).฀Scopo฀delle฀infografiche฀è฀riassumere฀un฀numero฀considerevole฀di฀informazioni฀in฀uno฀spa-
zio฀ridotto฀per฀ottenere฀una฀semplificazione฀della฀comunicazione.฀Lo฀strumento,฀largamente฀utiliz-
zato฀nel฀marketing฀e฀nella฀divulgazione฀di฀informazioni฀“astratte”,฀come฀processi฀informatici฀o฀sta-
tistici,฀si฀può฀estendere฀all’informazione฀storica.฀Quanto฀pesava฀il฀bagaglio฀di฀un฀legionario?฀Cosa
conteneva?฀Quanti฀chilometri฀poteva฀percorrere฀in฀una฀giornata฀un฀milite฀affardellato?฀Quanto฀gli
spettava฀di฀liquidazione฀al฀termine฀del฀servizio?฀Come฀erano฀fatti฀i฀vari฀tipi฀di฀corazza?฀Come฀si฀dis-
ponevano฀gli฀uomini฀sul฀campo?฀Quali฀manovre฀potevano฀effettuare?...
Il฀campo฀delle฀curiosità฀e฀delle฀problematiche฀che฀si฀possono฀rappresentare฀è฀pressoché฀infinito฀e
non฀solo฀in฀ambito฀militare,฀forse฀quello฀cui฀siamo฀più฀abituati.฀Anche฀fenomeni฀come฀l’economia
e฀la฀politica฀possono฀essere฀descritti฀in฀questo฀modo.฀Forse฀non฀è฀altrettanto฀facile฀orientarsi฀fra฀le
tante฀frecce฀di฀diverso฀colore฀che฀contrassegnano฀i฀poteri฀delle฀varie฀magistrature฀romane:฀fra฀colo-
ro฀che฀eleggono,฀presiedono,฀consigliano,฀propongono,฀applicano,฀tutelano,฀votano฀o฀pongono฀il
veto…฀Eppure฀il฀sistema฀funziona฀egregiamente฀e฀permette,฀ad฀esempio,฀di฀constatare฀l’equilibrio
del฀sistema฀repubblicano,฀di฀registrare฀l’affermarsi฀del฀potere฀imperiale฀di฀notare฀come฀e฀quanto฀si
affianchi฀e฀sostituisca฀quello฀delle฀altre฀magistrature.฀฀Molto฀efficaci฀gli฀schemi฀delle฀varie฀famiglie
dinastiche,฀la฀cronologia฀degli฀imperatori,฀le฀cause฀delle฀loro฀morti,฀il฀funzionamento฀dell’econo-
mia฀e฀degli฀apparati฀amministrativi…฀Talvolta฀due฀pagine฀di฀infografiche฀richiedono฀di฀essere฀esa-
minate฀a฀lungo฀tanta฀è฀la฀mole฀di฀informazioni฀che฀contengono฀ed฀esprimono.฀฀
L’opera฀si฀deve฀a฀John฀Scheid,฀storico฀e฀archeologo฀dell’antichità฀romana฀e฀Nicolas฀Guillerat,฀grafico฀e฀docente฀di฀data฀visualization฀con฀la฀collaborazione฀di฀Milan
Melocco,฀dottorando฀alla฀Sorbona.
Agli฀stessi฀concetti฀si฀ispira฀il฀volume฀del฀medesimo฀editore฀“Infografica฀della฀II฀Guerra฀Mondiale”฀di฀Jean฀Lopez,฀Nicolas฀Aubin,฀Vincent฀Bernard;฀pagg.฀192,฀euro
23,75.฀฀฀฀฀
Paolo฀Di฀Marco฀

STORIA | SOLDATINI
SOLDATINI | SIMUL
SIMULAZIONE
AZIONE | GIOCO

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Le bbattaglie
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poque in mare
Le Guerre Ang
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PAGE 7

SOLDATINI฀156
Lo฀aspettavamo฀da฀cinque฀anni,฀da฀quando
in฀quel฀di฀Chicago,฀nel฀2017฀si฀svolse฀l’ulti-
ma฀ edizione฀ dell’appuntamento฀ “mondia-
le”,฀per฀quelli฀come฀me฀che฀per฀mille฀ragio-
ni฀ non฀ poterono฀ partecipare฀ alla฀ kermesse
americana,฀ l’attesa฀ si฀ protraeva฀ addirittura
da฀Stresa฀2014.
In฀ ogni฀ caso฀ gli฀ ingredienti฀ per฀ una฀ fanta-
stica฀reunion฀post-covid฀c’erano฀tutti,฀quasi
cinquemila฀pezzi฀in฀concorso,฀una฀location
consolidata฀come฀quella฀che฀ospita฀abitual-
mente฀ lo฀ Scale฀ Model฀ Challenge฀ di
Veldhoven฀appena฀fuori฀il฀centro฀abitato฀di
Eindhoven,฀ in฀ una฀ splendida฀ cornice฀ per
una฀volta฀non฀assediata฀dal฀torrido฀caldo฀a
cui฀siamo฀abituati฀qui฀in฀Italia.
Organizzazione฀logistica฀e฀di฀accoglienza฀ai of perfection, parking spaces in abundance,
limiti฀della฀perfezione,฀posti฀auto฀in฀abbon- dozens of stands ready to show off the best of
danza,฀decine฀di฀stand฀pronti฀a฀sfoggiare฀il their production, free and paid demonstrations
meglio฀della฀propria฀produzione,฀dimostra- for every need, big names in international
zioni฀ gratuite฀ e฀ a฀ pagamento฀ per฀ ogni฀ esi- model making that you can get to know perso-
genza,฀grandi฀nomi฀del฀modellismo฀interna- nally.
zionale฀da฀poter฀conoscere฀personalmente. The best of Show went to the award-winning
Il฀best฀of฀Show฀è฀andato฀alla฀premiata฀cop- Cartacci-Bruno couple with a fantastic
pia฀Cartacci-Bruno฀con฀un฀fantastico฀lavo- Napoleonic-themed work, unmissable contro-
ro฀ a฀ tema฀ Napoleonico,฀ immancabili฀ le versy, especially in category 15 (dioramas)
polemiche,฀ soprattutto฀ in฀ categoria฀ 15 where the Italian team was clearly penalized
(diorami)฀ dove฀ la฀ compagine฀ Italiana฀ è despite the quality expressed on the tables of the
stata฀palesemente฀penalizzata฀nonostante฀la event. To counterbalance the only flaw of the
qualità฀ espressa฀ sui฀ tavoli฀ della฀ manifesta- event, the great media sharing that has placed
zione.฀A฀fare฀da฀contraltare฀all’unica฀pecca the right emphasis on the pieces of Italian
dell’฀ evento,฀ il฀ grande฀ sharing฀ mediatico matrix.
che฀ ha฀ posto฀ il฀ giusto฀ accento฀ sui฀ pezzi฀ di Appointment in 2025 in Versailles, for a new
italica฀matrice. World Cup to be savored!
Appuntamento฀ nel฀ 2025฀ a฀ Versailles,฀ per Simon Antelmi
un฀nuovo฀Mondiale฀tutto฀da฀gustare!

We had been waiting for this for five years,

since the last edition of the "world" event took
place in Chicago in 2017, for those like me
who for a thousand reasons could not partici-
pate in the American event, the wait even
lasted from Stresa 2014.
In any case, the ingredients for a fantastic post-
covid reunion were all there, almost five thou-
sand pieces in competition, a consolidated loca-
tion like the one that usually hosts the Scale
Model Challenge in Veldhoven just outside the
town of Eindhoven, in a splendid setting for
once not besieged by the scorching heat we are
used to here in Italy.
Logistic organization and reception at the limits
SOLDATINI฀156
1 2

3
1฀-฀Angelo฀Marini฀di฀Tessarini
2฀-฀Assedio฀di฀Sebastopoli
3฀-฀Joachim฀Von฀Zieten฀di฀Marcel฀Boerrigter
4฀-฀Battaglia฀di฀Narva฀di฀Marco฀Pezzotti

4
5 6

5฀-฀Pastore฀watusso
6฀-฀Scots฀Grey฀dei฀Cannone
7฀-฀Napoleone฀di฀fronte฀al฀trono฀di฀Carlo
Magno฀(piatto)
8฀-฀Tigre
9฀-฀Ancora฀Ruberti
10฀-฀Daymio,฀Maeda฀clan

7 8

9 10
 11 12

11฀-฀Fronte฀orientale
13
12฀-฀Scenetta฀del฀box฀diorama฀di฀Terlizzi
13฀-฀Cheyenne฀warrior,฀54฀mm,฀open
14฀-฀Cacciando฀sotto฀la฀luna฀degli฀alberi฀schioppettanti฀1,฀75฀mm.,฀open
15฀-฀Cheyenne฀dog฀soldier

14

15
16 17

18 19
16฀-฀Guerriero฀spagnolo
17฀-฀The฀Red฀Devils฀Battle฀of฀Gaines’s
Mill,฀June฀27฀1862
18฀-฀Viso฀sornione
19฀-฀Inkerman฀1854
20฀-฀Wings฀of฀heaven฀di฀Mike฀Blank฀
21฀-฀Mignon฀di฀Roy฀Henri฀III฀di฀Philippe
Gengembre

21

20
 22 23 24

25

22฀-฀Zuavo฀da฀Keith฀Rocco
23฀-฀Sete...
24฀-฀Indiani฀di฀Marion฀e฀Alan฀Ball
25฀-฀Eat฀my฀dust฀di฀De฀Carolis,฀Nalin,
Lancioni,฀Rossetto...
26฀-฀Napoleone฀e฀il฀suo฀staff

26
27 28

29

27฀-฀I฀tre฀moschettieri
28฀ -฀ Colonnello฀ dei฀ Veliti
della฀ Guardia฀ del฀ Regno฀ di
Napoli
29฀-฀Eagle’s฀Last฀Flight
di฀ Maurizio฀ Bruno฀ e฀ Danilo
Cartacci,฀ Best฀ of฀ Show
54mm
30฀ -฀ Wings฀ from฀ Heaven,
Vienna฀1683
31฀-฀Bjorn฀Borg
32฀ -฀ Il฀ nuovo฀ Lepic฀ di
Figurintaly
33฀-฀The฀lost฀game฀di฀Cirilli฀-
Balloni
34฀-฀Crocifissione
35฀-฀Agguato฀abissino,฀1896
di฀De฀Meo-฀Gubitosi
36฀-฀Samurai
37฀ -฀ The฀ price฀ of฀ war,
Pomerania฀ 1945,฀ 1/35
argento฀di฀Simon฀Antelmi
 30 31 32

33 35

34

36 37
 Q
uesto฀ è฀ un฀ soggetto฀ fantastico฀ in
Mark฀฀Chestnutt resina฀ realizzato฀ dalla฀ ditta฀ greca
Alexandros฀in฀scala฀75฀mm,฀di฀otti-
ma฀ qualità฀ come฀ tradizione฀ di฀ questo฀ pro-
duttore.฀ La฀ precisione฀ è฀ tale฀ che฀ consiglio
vivamente฀di฀adattare฀a฀secco฀lo฀spaventa-
passeri฀ al฀ Sergeant.฀ L’unione฀ è฀ talmente
stretta฀ che฀ li฀ ho฀ montati฀ insieme฀ prima฀ di
verniciare,฀ onde฀ evitare฀ danni฀ facendolo
più฀avanti฀nel฀processo.
Volevo฀ ritrarli฀ insieme฀ come฀ se฀ fossero
osservati฀da฀altri฀soldati฀mentre฀il฀sergente
scherza฀con฀lo฀spaventapasseri.
Il฀pezzo฀è฀dipinto฀con฀acrilici฀e฀le฀mie฀verni-
ci฀ preferite฀ sono฀ Scalecolor฀ e฀ AK,฀ usando
pennelli฀ Hawk฀ Miniatures.฀ Trovo฀ che฀ le
vernici฀Ak฀siano฀particolarmente฀buone฀per
i฀colori฀più฀luminosi฀come฀il฀giallo.
Volevo฀ aggiungere฀ una฀ variazione฀ all'abbi-
gliamento฀ dello฀ spaventapasseri,฀ per฀ dargli
contrasto฀con฀l'uniforme฀militare,฀quindi฀ho
aggiunto฀ delle฀ strisce฀ e฀ in฀ particolare฀ degli
escrementi฀ di฀ uccelli,฀ con฀ i฀ volatili฀ più
coraggiosi฀che฀si฀sono฀appollaiati.
PAGE 16

SOLDATINI฀156
Ho฀ usato฀ pezzetti฀ di฀ vegetazione฀ varia฀ per
riprodurre฀il฀campo฀di฀cereali,฀mentre฀il฀ter-
reno฀è฀un฀prodotto฀Hisotrex.
Un฀lavoro฀intricato฀ma฀mi฀è฀piaciuto฀molto
e฀ci฀sono฀infinite฀possibilità฀di฀personalizza-
re฀l’abbigliamento฀dello฀spaventapasseri!

●●●

This is a fantastic character piece brought to us

from Alexandros, Greece. It is 75mm and cast
in resin with minimal clean up, as we’ve come
to expect from Alexandros. The fit is tight and
I highly recommend to dry fit the scarecrow to
the Sergeant. It was so tight on mine that I fit-
ted them together before painting to prevent any
damage doing it later in the process.

I wanted to portray them together as though

being watched by other soldiers as the Sergeant
is joking around with the scarecrow.

The piece is painted in acrylics and my prefer-

red paints are Scalecolor and Ak with brushes
from Hawk Miniatures. I find the the Ak paints
are particularly good for the brighter colours

such as yellow.
I wanted to add a variation with the scarecrow
clothing to give it contrast to military uniform,
so added stripes and in particular bird drop-
pings, where the bravest birds had been per-
ched.
I used bits of vegetation from the spares box to
replicate the crops and the ground work was
made from scatter purchased from Hisotrex. I
then tied the groundwork in with a dusting of
pigment.
Quite a bit of intricate work with this one but
thoroughly enjoyed it and there’s endless possi-
bilities with the scarecrow clothing!

ALEXANDROS฀
75฀mm
PAGE 17

SOLDATINI฀156
Giovanni฀Gombetti
V
i฀presento฀un฀altro฀dei฀figurini฀gene-
rato฀da฀file฀STL฀e฀stampa฀in฀3D.
Per฀i฀lettori฀di฀Model฀Time฀interessati฀a฀que-
sto฀ filone฀ modellistico฀ posso฀ ricordare฀ la
pubblicazione฀ in฀ altri฀ due฀ numeri฀ di฀ tale
rivista฀ di฀ figurini฀ similari฀ rappresentanti
personaggi฀ del฀ cinema฀ e฀ spettacolo,฀ aventi
le฀stesse฀caratteristiche฀tipologiche.
Il฀ personaggio฀ in฀ questione฀ è฀ Freddie
Mercury,฀ il฀ mitico฀ e฀ indimenticabile฀ can-
tante฀ del฀ gruppo฀ musicale฀ dei฀ Queen,
diventato฀ nel฀ tempo฀ icona฀ di฀ musicalità
unica,฀carisma,฀stile฀e฀trasgressività,฀caratte-
ristiche฀aderenti฀alla฀classica฀figura฀rock฀del
suo฀periodo.
Come฀già฀ho฀spiegato฀in฀altri฀articoli,฀il฀figu-
rino฀è฀realizzato฀tramite฀file฀di฀prototipazio-
ne฀rapida฀(STL)฀ed฀è฀liberamente฀acquista-
bile฀sul฀sito฀web฀della฀Gambody฀a฀U$฀24,99.
Il฀file฀dà฀la฀possibilità฀di฀stampare฀la฀figura
anche฀ intera,฀ a฀ una฀ scala฀ massima฀ di฀ 1/8
(tipo฀action฀figure).
Con฀elaborazioni฀particolari฀in฀fase฀di฀stam-
pa฀si฀può฀personalizzare฀la฀figura,฀impostan-
dola฀per฀esempio฀a฀una฀scala฀inferiore฀oppu-
re฀creando฀un฀busto,฀come฀ho฀deciso฀di฀fare
io.฀ L’abbigliamento฀ del฀ figurino,฀ anche฀ se
minimale฀ma฀comunque฀molto฀carismatico
(come฀quasi฀sempre฀era฀nello฀stile฀dell’arti-
sta),฀ lo฀ immortala฀ nel฀ famoso฀ concerto
tenuto฀ allo฀ stadio฀ di฀ Wembley฀ nel฀ 1985,
data฀ importante฀ per฀ la฀ carriera฀ del฀ gruppo,
da฀dove฀lo฀stesso฀partì฀alla฀conquista฀di฀tutte
le฀possibili฀vette฀internazionali.
Nel฀mio฀caso฀ho฀voluto฀mantenere฀la฀scala
1/8฀ (220฀ mm)฀ appunto฀ per฀ un฀ busto฀ in฀ ¾,
per฀avere฀comunque฀un฀forte฀impatto฀emo-
tivo.฀Ho฀abbandonato฀la฀scelta฀della฀figura
intera,฀anche฀su฀diversa฀scala,฀perché฀avevo
timore฀che฀essa฀apparisse฀come฀uno฀di฀quei
Finitura฀della฀base฀con฀plasticard,฀con฀presenta-
zione฀del฀busto฀sul฀basamento฀in฀legno,฀il฀vitone
centrale฀di฀sostegno฀e฀il฀supporto฀d’ottone.
Finishing฀of฀the฀base฀with฀plasticard,฀with฀visible
presentation฀ of฀ the฀ bust฀ on฀ the฀ wooden฀ base,
the฀central฀support฀screw฀and฀the฀brass฀support.
gadget฀spesso฀vendibili฀nei฀negozi฀di฀artico-
li฀musicali,฀nei฀quali฀appunto฀esistono฀sva-
riate฀ statuette฀ del฀ genere,฀ anche฀ di฀ altri
musicisti฀ o฀ attori฀ famosi,฀ che฀ ovviamente
sono฀distanti฀anni฀luce฀da฀un฀serio฀discorso
modellistico.
Non฀possedendo฀una฀stampante฀3D฀né฀pro-
grammi฀per฀la฀personalizzazione฀della฀stam-
pa฀e฀conoscenza฀delle฀resine,฀mi฀sono฀avval-
so,฀come฀sempre,฀di฀uno฀studio฀professiona-
le,฀ ฀ Soluzione฀ 3D,฀ che฀ già฀ aveva฀ prodotto
per฀me฀svariati฀figurini฀e฀busti฀e฀che฀è฀molto
preparato฀ nell’organizzazione฀ di฀ lavori
modellistici,฀nella฀scelta฀delle฀scale฀di฀stam-
pa,฀con฀l’฀esecuzione฀di฀eventuali฀modifiche
al฀ file฀ e฀ nell’uso฀ della฀ resina฀ più฀ adatta.฀ Il
lavoro฀ è฀ costato฀ U€฀ 55,฀ costo฀ abbastanza
contenuto,฀da฀sommare฀ovviamente฀a฀quel-
lo฀per฀l’acquisto฀del฀file.
La฀stampa฀è฀risultata฀sufficientemente฀puli-
ta;฀ oltre฀ alla฀ lavorazione฀ per฀ il฀ consueto
adattamento฀per฀l’incollaggio฀degli฀elemen-
ti฀si฀è฀resa฀necessaria฀la฀lisciatura฀del฀volto฀e
delle฀ parti฀ del฀ corpo฀ visibili,฀ utilizzando
carta฀ abrasiva,฀ in฀ sequenza,฀ di฀ grana฀ 400,
600฀ e฀ 1000,฀ quest’ultima฀ in฀ finitura,฀ per
uniformare฀le฀superfici,฀eliminando฀le฀inevi-
tabili฀(seppur฀di฀minima฀entità)฀linee฀tomo- Il฀ figurino฀ fresco฀ di฀ stampa:฀ presentazione฀ a
grafiche฀orizzontali฀di฀stampa. secco฀di฀testa฀e฀busto.
La฀somiglianza฀è฀accettabile฀anche฀se฀non฀è The฀freshly฀printed฀figure:฀a฀dry฀fit฀presentation
mai฀ facilissimo฀ azzeccarla,฀ presentando฀ un of฀the฀head฀and฀torso.
figurino฀ in฀ un฀ momento฀ di฀ massimo฀ sforzo
mimico.฀ È฀ importante฀ notare,฀ anche฀ se
poco฀visibile฀dalle฀foto,฀la฀minuziosa฀rappre-
SOLDATINI฀156
 sentazione฀ della฀ trama฀ del฀ tessuto฀ della
canottiera฀ e฀ dei฀ pantaloni,฀ che฀ in฀ questa
scala฀è฀necessaria.
Se฀ devo฀ essere฀ sincero,฀ la฀ lavorazione฀ dei
pezzi฀ per฀ il฀ giusto฀ adattamento฀ prima฀ del-
l’incollaggio฀è฀stato฀un฀po’฀laborioso,฀per฀via
del฀ grado฀ di฀ durezza฀ della฀ resina,฀ problema
comunque฀ risolvibile฀ utilizzando,฀ sempre
con฀ parsimonia,฀ una฀ fresa฀ elettrica฀ (vedi
utensili฀multifunzione฀Dremel/฀Proxxon).
Gli฀ elementi฀ strutturali฀ del฀ figurino,฀ come
di฀ consueto,฀ sono฀ stati฀ incollati฀ con฀ colla
epossidica฀ bicomponente,฀ mentre฀ per฀ gli
accessori฀(microfono,฀asta฀e฀cavo)฀ho฀utiliz-
zato฀ del฀ semplice฀ cianoacrilato฀ in฀ gel.
Ricordo฀che฀se฀pazientemente฀si฀lavora฀con
un฀discreto฀grado฀di฀precisione,฀effettuando
un฀buon฀lavoro฀di฀fresatura฀sui฀contorni฀dei
vari฀pezzi฀combacianti,฀non฀sarà฀necessario
utilizzare฀stucco.
Vista฀ la฀ stampa฀ “mozzata”฀ dei฀ pantaloni,
dove฀era฀visibile฀ancora฀lo฀scheletrato฀inter-
no฀di฀struttura,฀si฀è฀resa฀necessaria฀una฀rifi-
nitura฀inferiore,฀utilizzando฀del฀plasticard฀di
mm฀1฀di฀spessore.฀Inoltre฀è฀stato฀necessario
infilare฀un฀vitone฀passante฀che,฀inserito฀nel
supporto฀di฀ottone฀da฀fissare฀allo฀zoccolo฀in
legno,฀costituisce฀il฀sostegno฀del฀figurino.฀Il

Nuova฀asta฀con฀i฀vari฀accessori฀per฀il฀microfono
e฀l’avambraccio฀destro.

New฀ rod฀ with฀ various฀ accessories฀ for฀ the

microphone฀and฀the฀right฀forearm.
PAGE 20

SOLDATINI฀156
supporto฀ di฀ ottone฀ è฀ una฀ fornitura฀ per Il฀figurino฀con฀il฀volto฀ultimato฀e฀il฀colore฀di฀base฀per฀braccia฀e฀canottiera.
modellismo฀navale.
The฀figure฀with฀completed฀face฀and฀base฀color฀for฀arms฀and฀undershirt.
Per฀ tale฀ lavoro,฀ a฀ livello฀ standard,฀ non
sarebbe฀necessario฀apportare฀alcune฀modifi-
ca฀ o฀ miglioria,฀ perché฀ gli฀ accessori฀ che฀ lo Zona฀di฀attacco฀dell’avambraccio฀destro.
compongono฀ sono฀ accettabili.฀ Tuttavia฀ ho Attack฀area฀of฀the฀right฀forearm.

SOLDATINI฀156
voluto฀sostituire฀l’asta฀del฀microfono฀perché
mi฀sembrava฀di฀diametro฀non฀proprio฀con-
sono฀rispetto฀alla฀scala.฀Ciò฀non฀è฀stato฀dif-
ficile฀ e฀ ho฀ acquistato฀ in฀ un฀ negozio฀ di
modellismo฀ dei฀ microtubolari฀ in฀ acciaio
spazzolato฀ (diametro฀ mm฀ 1-2)฀ utilizzati
generalmente฀per฀modelli฀navali,฀che฀ho฀poi
lucidato฀ ulteriormente฀ con฀ pasta฀ fine
Tamiya,฀ lasciati฀ quindi฀ al฀ naturale฀ senza
dipingerli.฀ Il฀ cavo฀ è฀ costituito฀ da฀ un฀ fila-
mento฀in฀gomma฀che฀proviene฀da฀una฀vec-
chia฀ fornitura฀ Verlinden,฀ utilizzata฀ per
accessori฀militari.
PITTURAZIONE
Per฀ via฀ delle฀ caratteristiche฀ anatomiche฀ e
della฀postura฀del฀figurino,฀non฀è฀stato฀possi-
bile฀ completare฀ l’incollaggio฀ dello฀ stesso
prima฀ della฀ pitturazione.฀ L’avambraccio
destro฀con฀la฀mano฀che฀tiene฀il฀microfono฀è
stato฀fissato฀alla฀fine.฀Anche฀in฀questo฀caso,
per฀l’unione฀di฀tali฀pezzi฀è฀stata฀utilizzata฀la
solita฀colla฀bicomponente,฀che฀nella฀giuntu-
ra฀ha฀creato฀un฀filo฀continuo฀di฀unione,฀pro-
prio฀ nella฀ piega฀ che฀ si฀ crea฀ tra฀ braccio฀ e
avambraccio,฀ che฀ è฀ poi฀ stato฀ lavorato฀ con
attenzione฀ utilizzando฀ lima฀ triangolare฀ e
carta฀abrasiva฀di฀grana฀600฀e฀1000฀in฀finitu-
ra.
La฀ figura฀ parzialmente฀ composta,฀ l’avam-
braccio฀destro฀con฀la฀mano฀già฀fissata฀e฀gli
accessori฀ sono฀ stati฀ trattati฀ con฀ un฀ fondo
preparatorio,฀ utilizzando฀ il฀ colore฀ acrilico
Tamiya฀ grigio฀ XF66฀ erogato฀ ad฀ aeropenna
SOLDATINI฀156
in฀ due฀ passate,฀ con฀ diluizione฀ al฀ 50%.
Consiglio฀ sempre฀ di฀ utilizzare฀ un฀ acrilico
come฀ primer,฀ anche฀ perché฀ sulle฀ resine
sfruttate฀ per฀ le฀ stampe฀ in฀ 3D฀ tale฀ vernice
risulta฀meno฀aggressiva฀rispetto฀agli฀smalti฀o
ad฀altre฀pitture฀sintetiche.
Per฀ quanto฀ riguarda฀ i฀ colori,฀ essendo฀ un
vecchio฀ nostalgico฀ ho฀ utilizzato฀ smalti
Humbrol,฀rigorosamente฀tutti฀opachi,฀dilui-
ti฀con฀essenza฀di฀trementina,฀indicati฀nella
seguente฀tabella฀colori.
Per฀quanto฀riguarda฀la฀metodologia฀di฀pittu-
razione,฀sostengo฀sempre฀che฀sia฀poco฀utile
indicare฀ specificatamente฀ il฀ percorso฀ e฀ le
soluzioni฀adottate,฀anche฀perché฀esse฀posso-
no฀essere฀di฀diverso฀tipo,฀in฀base฀al฀tipo฀di
colore฀ utilizzato฀ e฀ alle฀ diverse฀ metodiche
personalizzate฀da฀ogni฀modellista.
Per฀gli฀smalti฀e฀gli฀oli฀si฀usa฀generalmente฀il
classico฀metodo฀di฀fusione฀pittorica฀e฀maga-
ri,฀ in฀ certi฀ casi,฀ la฀ tecnica฀ del฀ pennello
asciutto,฀mentre฀per฀gli฀acrilici฀o฀vinilici฀è฀di
base฀la฀sovrapposizione฀degli฀strati฀di฀colore
creando฀le฀necessarie฀intensità฀cromatiche฀o
trasparenze.
Tuttavia฀illustrerò฀per฀sommi฀capi฀le฀fasi฀di
lavoro.฀Sono฀partito฀ovviamente฀dalla฀base
del฀ volto฀ e฀ del฀ collo฀ fino฀ all’unione฀ delle
spalline฀della฀canottiera.฀Ho฀poi฀proseguito
con฀la฀base฀per฀capelli฀e฀baffi.฀Attese฀alme-
no฀24฀ore฀di฀asciugatura,฀ho฀iniziato฀a฀lavo-
rare฀sugli฀incarnati฀preparando฀le฀aree฀degli
occhi฀ e฀ iniziando฀ a฀ evidenziare฀ le฀ pieghe
mimiche฀ del฀ volto.฀ Ho฀ proseguito฀ nella
definizione฀dei฀bulbi฀oculari฀(in฀questo฀caso
meno฀impegnativi฀del฀solito฀perché฀chiusi)
e฀di฀interno฀bocca,฀labbra฀e฀denti,฀lavoran-
do฀con฀chiari-scuri฀i฀capelli,฀le฀sopracciglia฀e
i฀ baffi.฀ Infine,฀ tenendo฀ conto฀ del฀ registro
“luce฀zenitale”฀ho฀lumeggiato฀il฀volto.฀Sono
poi฀passato฀a฀realizzare฀le฀basi฀delle฀braccia฀e
della฀canottiera.
Atteso฀il฀tempo฀necessario฀di฀asciugatura฀ho
lavorato฀sui฀chiari-scuri฀della฀spalla฀sinistra
e฀anche฀sulla฀parte฀di฀braccio฀destro฀sebbe-
ne฀ incompiuto,฀ definendo฀ l’armillare฀ in
cuoio฀e฀borchie฀e฀lavorando฀anche฀l’avam-
braccio฀ staccato.฀ In฀ quel฀ punto,฀ come฀ già
detto,฀l’unione฀dei฀pezzi฀risulta฀essere฀abba-
stanza฀ netta฀ e฀ pertanto฀ il฀ lavoro฀ di฀ ritocco
dopo฀ l’incollaggio฀ risulta฀ essere฀ di฀ minima
entità.
Di฀conseguenza฀ho฀lavorato฀sui฀chiari-scuri
della฀canottiera฀e฀poi฀ho฀dipinto฀la฀base฀dei
pantaloni฀con฀cinghia.
Infine,฀ sempre฀ nel฀ rispetto฀ dei฀ tempi฀ di
asciugatura,฀ ho฀ lavorato฀ sui฀ chiari-scuri
anche฀di฀questi฀ultimi฀elementi.฀Come฀ulti-
ma฀fase฀ho฀dipinto฀il฀microfono฀e฀i฀compo-
nenti฀di฀attacco฀all’asta.
Per฀ quando฀ riguarda฀ il฀ trattamento฀ delle
superfici฀lucide฀e฀semilucide,฀per฀esempio฀il
microfono,฀ ho฀ utilizzato฀ il฀ Clear฀ Tamiya฀ e
per฀altre฀parti,฀tipo฀cinghia฀e฀velatura฀cor-
porea,฀ un฀ liquido฀ lucido฀ per฀ pellami,฀ che
può฀essere฀intensificato฀sovrapponendolo฀in
più฀strati.
Il฀figurino฀è฀stato฀fissato฀a฀un฀basamento฀in
legno฀ di฀ bosso,฀ semplicemente฀ lucidato฀ a
cera฀e฀completato฀con฀una฀targhetta฀d’otto-
 where in fact there are various statuettes of the
genre, including those of other famous musi-
cians or actors, which obviously they are light
years away from serious modeling discourse.
Not having a 3D printer, not having programs
for printing customization, and knowledge of
resins, I made use, as always, of a professional
"3D SOLUTION" studio that had already
produced for me various figures and busts and
which is very well prepared in '' organization of
modeling works, in the choice of printing scales,
with execution of any changes to the file and in
the use of the most suitable resin. The work cost
€55, a fairly low cost, obviously to be added to
that for the purchase of the file.
The print was sufficiently clean, in addition to
the processing for the usual adaptation for the
gluing of the elements, it was necessary to
smooth the face and the visible body parts, using
abrasive paper, in consequence of 400, 600
and 1000 grain in finish , to make the surfaces
uniform, eliminating the inevitable (albeit mini-
mal) horizontal tomographic print lines.
The similarity is acceptable even if it is never
very easy to spot it, presenting a figure in a
moment of maximum mimic effort. It is impor-
tant to note, even if barely visible from the pho-
tos, the meticulous representation of the texture
of the fabric of the undershirt and trousers,
which is necessary in this scale.
If I have to be honest, the processing of the pie-
ces for the right fit, before gluing was a bit labo-
rious, due to the degree of hardness of the resin,
a problem that can still be solved by using an
electric cutter to the limit, always sparingly.
(see Dremel / Proxxon multifunction tools).
The structural elements of the figure, as usual,
were glued with two-component epoxy glue,

ne฀a฀superficie฀lucida,฀con฀quest’ultima฀che
contribuisce฀a฀dare฀un฀tocco฀di฀signorilità฀al
modello.

●●●

I present to you another of the fashion figures

generated from STL files and 3D printing.
The character in question is Freddie Mercury,
the legendary and unforgettable singer of the
Queen musical group, who over time has beco-
me an icon of unique musicality, charisma,
style and transgressiveness, characteristics
adhering to the classic rock figure of his period.
As I have already explained in other articles, the
figure is made using a rapid prototyping file
(STL), and is freely available on the GAM-
BODY website for $ 24.99. The file gives the
possibility to print the whole figure, at a maxi-
mum scale of 1: 8 (type action figure).
With special elaborations during the printing
phase, you can customize the figure, setting it
for example at a lower scale or, creating a bust,
as I decided to do. The clothing of the figure,
even if minimal but very charismatic (as it was
almost always in the style of the artist) immor-
talizes him in the famous concert held at
Wembley stadium in 1985, an important date
for the career of his group, from where the same
he set out to conquer all possible international
peaks.
In my case I wanted to keep the 1: 8 scale (220
mm) precisely for a ¾ bust, to have a strong
emotional impact. I abandoned the choice of the
full figure, even on a different scale, because I
was afraid that it would appear as one of those
gadgets that can often be sold in music stores,

SOLDATINI฀156
 while for the accessories (microphone, boom
and cable) I used simple cyanoacrylate gel. I
remember that if you work patiently with a fair
degree of precision, doing a good milling job on
the contours of the various mating pieces, it will
not be necessary to use putty.
Given the “severed” print of the trousers, where
the internal skeletonized structure was still visi-
ble, a lower finishing was necessary, using 1
mm thick plasticard. It was also necessary to
insert a through screw which, inserted in the
brass support to be fixed to the wooden base,
constitutes the support of the figure. The brass
stand is always a ship modeling supply.
For this work, at a standard level, it would not
be necessary to make any changes or improve-
ments, because the accessories that compose it
are acceptable. However, I wanted to replace
the microphone shaft because it seemed to me
not quite in keeping with the scale. This was not
difficult, I bought, in a modeling shop, some
microtubulars in brushed steel (diameter 1-2
PAGE 24
mm) generally used for naval models, which I
then further polished with Tamiya fine paste,
then left natural without painting them. The
cable consists of a rubber filament, which
instead comes from an old Verlinden supply,
used for military accessories.
PAINTING
Due to the anatomical characteristics and
posture of the figure, it was not possible to com-
plete the gluing of the same before painting. The
right forearm with the hand holding the
microphone was fixed at the end. Also in this
case, the usual two-component glue was used to
join these pieces, which created a continuous
thread of union in the joint, (right in the fold
that is created between the arm and forearm)
which was then carefully worked using a file.
triangular and sandpaper of grain 600, and
1000 in finish.
Therefore, the partially composed figure, the
right forearm with the hand already fixed and
SOLDATINI฀156
the accessories were treated with a preparatory
primer, using the Tamiya gray XF 66 acrylic
paint, sprayed in two coats, with 50% dilution.
I always recommend using acrylic as a primer,
also because on the resins used for 3D prints,
this paint is less aggressive than enamels or other
synthetic paints.
As for the colors, being an old nostalgic I used
Humbrol glazes, strictly all opaque, diluted
with turpentine essence, indicated in the fol-
lowing color table.
As for the painting methodology, I always
maintain that it is not very useful to specifically
indicate the path and the solutions adopted, also
because they can be of different types, based on
the type of color used and the different methods
customized by each model maker.
For enamels and oils the classic method of pic-
torial fusion is generally used and perhaps, in
some cases, the dry brush technique, for acry-
lics or vinyls the overlapping of the layers of
color is basic, creating the necessary chromatic
intensity or transparencies.
However, I will briefly illustrate the work pha-
ses. I obviously started from the base of the face
and neck to the union of the straps of the tank
top. I then continued with the hair and musta-
che base. After waiting at least 24 hours for
drying, I started working on the complexions by
preparing the eye areas and starting to highlight
the facial folds. I then continued with the defi-
nition of the eyeballs (in this case less deman-
ding than usual because they are closed), inside
the mouth, lips and teeth, working with light-
dark hair, eyebrows and mustaches. Finally,
taking into account the “zenith light” register, I
highlighted the face. I then moved on to doing
the basics of the arms and undershirt.
After the necessary drying time, I worked on
the light and dark shades of the left shoulder and
in any case also on the part of the right arm
although unfinished, defining the armillary in
leather and studs and also working the detached
forearm. At that point, as already mentioned,
the union of the pieces is quite clear therefore
the retouching work after gluing will be mini-
mal.
Consequently, I worked on the light and dark
shades of the tank top and then painted the base
of the trousers with a belt.
Finally, always respecting the drying times, I
also worked on the light-darks of these latter ele-
ments. In the last phase, I painted the
microphone and the rod attachment compo-
nents.
As for the treatment of glossy and semi-glossy
surfaces, for example for the microphone I used
the clear tamiya and for other parts, such as belt
and body veil, a liquid glossy for leather that can
be intensified by overlapping it in several layers.
Finally, the figure was fixed to a boxwood base,
simply waxed with a polished brass plate, where
the latter always contributes to giving a touch of
elegance to the model.
GAMBODY-SOLUZIONE฀3D
220฀mm฀
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 Cadetto Regia Accademia di
Artiglieria e Genio
Cadet Royal Academy of
Federico฀Bernini
Artillery and Engineers
S
ono฀passati฀30฀anni฀esatti฀dal฀mio฀ser-
vizio฀militare฀e฀per฀lenire฀la฀nostalgia
di฀ quell’età฀ e฀ di฀ quell’utile฀ scuola฀ di
vita฀mi฀è฀sembrato฀giusto฀fermarne฀il฀ricor-
do฀ in฀ un฀ pezzo฀ che฀ raffigurasse฀ un฀ cadetto
della฀mia฀caserma฀di฀piazzetta฀Accademia฀3
a฀Torino.
Fino฀a฀prima฀del฀secondo฀conflitto฀mondia-
le,฀ la฀ Regia฀ Accademia฀ di฀ Artiglieria฀ e
Genio฀era฀un฀istituto฀nel฀quale฀in฀più฀di฀200
anni฀ erano฀ stati฀ educati฀ insigni฀ personaggi
quali฀ Vittorio฀ Alfieri,฀ Camillo฀ Benso฀ di
Cavour฀ e฀ innumerevoli฀ ufficiali฀ tra฀ cui
Alfonso฀La฀Marmora,฀Cadorna,฀Diaz฀e฀tanti
altri.
Nel฀ 1992,฀ inquadrato฀ nella฀ 1a฀ Direzione
Genio฀Militare,฀ho฀vissuto฀un฀anno฀bellissi-
mo฀ tra฀ quelle฀ mura,฀ entrando฀ in฀ un฀ certo
senso฀a฀far฀parte฀di฀questa฀gloriosa฀istituzio-
ne฀ insieme฀ ad฀ altri฀ ragazzi฀ di฀ allora,฀ ora
uomini฀impegnati฀nelle฀più฀varie฀professio-
ni฀civili฀ma฀accomunati฀da฀un฀indissolubile
legame฀contratto฀in฀quei฀mesi฀di฀leva.

IL฀PROGETTO
L’idea฀di฀partenza฀è฀stata฀quella฀di฀realizzare
un฀ pezzo฀ che฀ rappresentasse฀ una฀ cerniera
temporale฀tra฀l’epoca฀aulica฀dell’Accademia
e฀gli฀anni฀Novanta฀del฀secolo฀scorso,฀perio-
do฀ nel฀ quale฀ ฀ ho฀ prestato฀ servizio฀ in฀ quel
complesso฀ edilizio,฀ noto฀ ai฀ torinesi฀ come
“Cavallerizza”.฀ Pertanto,฀ se฀ il฀ cadetto฀ e฀ il
portone฀ di฀ ingresso฀ con฀ campanella,฀ luce,
targa฀e฀stemma฀savoiardo฀riportano฀ai฀primi
anni฀ Trenta,฀ il฀ vialetto฀ di฀ accesso฀ con฀ la
cancellata฀e฀la฀colonna฀mozza฀rappresenta-
no฀lo฀stato฀attuale,฀elementi฀residui฀dell’ori-
ginario฀cortile฀interno฀porticato฀sui฀quattro
lati,฀andato฀perduto฀a฀seguito฀dei฀bombarda-
menti฀dell’ultimo฀conflitto฀mondiale.
La฀scelta฀del฀1927฀per฀il฀cadetto฀è฀legata฀al
fatto฀ che฀ con฀ un฀ nuovo฀ ordinamento฀ sul
reclutamento฀ degli฀ ufficiali,฀ non฀ più฀ tratti
dagli฀ ufficiali฀ di฀ complemento,฀ i฀ nuovi
ammessi฀ nella฀ Regia฀ Accademia฀ di
Artiglieria฀e฀Genio฀nel฀novembre฀del฀1927
(109°฀corso)฀ebbero,฀per฀la฀prima฀volta,฀una
loro฀peculiare฀uniforme,฀poi฀definitivamen-
te฀regolamentata฀nel฀Giornale฀Militare฀del
1929.

SOLDATINI฀156
Chissà฀ cosa฀ direbbe฀ il฀ nostro฀ cadetto฀ di
novant’anni฀ fa,฀ fiero฀ ed฀ elegante฀ nella฀ sua
posa฀e฀nella฀sua฀divisa,฀se฀vedesse฀in฀quale
stato฀ versa฀ ora฀ la฀ Cavallerizza฀ e฀ sentisse
tutto฀il฀vaniloquio฀riferito฀al฀suo฀riutilizzo?

IL฀FIGURINO฀฀
L’UNIFORME
La฀base฀è฀un฀pezzo฀della฀storica฀ditta฀torine-
se฀Berruto฀(bersagliere฀in฀Cina,฀cod.฀6038),
ampiamente฀ trasformato฀ per฀ raffigurare฀ il
cadetto฀ della฀ Regia฀ Accademia฀ in฀ alta
uniforme฀del฀1927.
La฀nuova฀testa,฀recuperata฀dalla฀scatola฀dei
pezzi฀residui,฀ha฀ricevuto฀un฀chepì฀in฀Magic
Sculpt.฀ Questo฀ nella฀ realtà฀ era฀ ricoperto
esternamente฀di฀panno฀castorino฀grigiover-
de฀con฀una฀striscia฀di฀marocchino฀nero฀luci-
do฀ nella฀ parte฀ inferiore.฀ Superiormente
veniva฀applicato฀un฀cordoncino฀di฀lana฀cre-
misi,฀mentre฀tre฀filettature฀dello฀stesso฀colo-
re฀ erano฀ allocate฀ sulla฀ fascia฀ grigioverde
(due฀laterali฀e฀una฀posteriore).฀La฀visiera฀era
in฀ cuoio฀ nero฀ lucido,฀ con฀ sovrastante฀ coc-
carda฀ tricolore฀ in฀ seta฀ e฀ fregio฀ in฀ metallo
giallo฀ composto฀ da฀ due฀ cannoni฀ incrociati
sormontati฀ da฀ granata฀ fiammeggiante.฀ La
nappina฀in฀lana฀cremisi฀aveva฀al฀centro฀uno
scudo฀ovale฀nero฀con฀numero฀bianco฀riferi-
to฀ alla฀ compagnia.฀ Completavano฀ il฀ tutto
una฀treccia฀di฀lana฀cremisi,฀bottoncini฀late-
rali฀in฀ottone฀dorato฀e,฀nella฀grande฀unifor-
me,฀un฀pennacchietto฀di฀crini฀neri฀portato
dritto,฀infisso฀sulla฀nappina.
Eliminata฀completamente฀la฀blusa฀da฀bersa-
gliere฀con฀la฀lama฀di฀un฀cutter,฀sulla฀superfi-

cie฀liscia฀ho฀modellato฀un฀nuovo฀colletto฀e I฀ guanti,฀ di฀ pelle฀ marrone฀ per฀ l’uniforme

la฀ nuova฀ giubba,฀ completando฀ il฀ figurino
con฀la฀sostituzione฀delle฀gambe฀originali฀con
altre฀calzanti฀pantaloni฀lunghi.
Il฀colore฀dell’uniforme฀è฀stato฀ottenuto฀par-
tendo฀da฀una฀base฀acrilica฀composta฀da฀Gris
Azul฀Oscuro฀(V904)฀e฀Green฀Sky฀(V974),
ai฀quali฀sono฀seguite฀una฀prima฀ombreggia-
tura฀a฀olio฀con฀una฀mescola฀di฀Field฀Grey฀+
Light฀ Grey฀ +฀ Copper฀ Oxide฀ Blue,฀ tutti
Abteilung฀ 502฀ (ABT),฀ una฀ lumeggiatura
con฀ grigio฀ azzurrato฀ e฀ blu฀ reale฀ chiaro
Mussini฀ (M)฀ +฀ Snow฀ White฀ Abteilung฀ e
infine฀una฀seconda฀ombreggiatura฀con฀Field
Grey฀ ABT฀ +฀ grigio฀ azzurrato฀ M฀ +฀ nero฀ di
vigna฀W/N.
La฀giubba฀di฀un฀cadetto,฀identica฀per฀tessu-
to฀e฀modello฀a฀quella฀prescritta฀per฀gli฀uffi-
ciali,฀prevedeva฀in฀aggiunta฀un฀filettatura฀al
colletto฀ in฀ panno฀ cremisi฀ e,฀ al฀ di฀ sotto฀ di
questa,฀ una฀ trecciola฀ in฀ oro,฀ quale฀ segno
distintivo฀degli฀allievi฀ufficiali,฀con฀stellette
argentate.
I฀ pantaloni฀ lunghi฀ erano฀ ornati฀ da฀ bande
laterali฀ di฀ panno฀ nero฀ con฀ filettatura฀ cen-
ordinaria,฀erano฀bianchi฀nella฀grande฀tenu-
ta.
LA฀MANTELLINA
Questo฀ indumento฀ era฀ previsto฀ sia฀ per฀ l’u-
niforma฀ordinaria฀sia฀per฀la฀grande฀uniforme
ed฀era฀in฀panno฀castorino฀grigioverde,฀lunga
fin฀sotto฀il฀ginocchio,฀con฀bavero฀rovesciato
guarnito฀ delle฀ stellette฀ e฀ della฀ trecciola
dorata,฀ con฀ fermaglio฀ in฀ metallo฀ dorato
composto฀da฀due฀borchie฀recanti฀in฀rilievo
una฀testa฀di฀leone,฀delle฀quali฀una฀con฀gan-
cetto฀e฀l’altra฀con฀catenella.
Per฀ variare฀ leggermente฀ la฀ tonalità฀ della
mantellina฀rispetto฀all’uniforme,฀pur฀tenen-
do฀ presente฀ che฀ si฀ trattava฀ di฀ abiti฀ nuovi,
non฀sottoposti฀a฀usura,฀la฀mescola฀acrilica฀di
base฀è฀stata฀ottenuta฀combinando฀Gris฀Azul
Oscuro฀ (V974)฀ +฀ Field฀ Grey฀ Scale฀ 75฀ +
Grey฀ Green฀ (V866).฀ Luci฀ e฀ ombre฀ a฀ olio
sono฀ le฀ stesse฀ realizzate฀ per฀ l’uniforme,฀ ma
su฀ queste฀ sono฀ state฀ effettuate฀ transizioni
con฀Field฀Grey฀ABT,฀Grigio฀Azzurrato฀M฀e
Blu฀Reale฀Chiaro฀M.
PAGE 27

trale฀di฀colore฀cremisi.฀Erano฀muniti฀di฀sot-
topiede฀in฀cuoio฀nero,฀fermati฀da฀bottoncini L’AMBIENTAZIONE
dorati฀e฀fibbiette฀metalliche. Totalmente฀autocostruita฀in฀foam฀da฀8฀mm,
SOLDATINI฀156
 con฀la฀sola฀esclusione฀del฀pilastro฀centrale,
una฀ datata฀ referenza฀ commerciale฀ Pegaso
(ASL002).
I฀ mattoni฀ sono฀ stati฀ incisi฀ e฀ dipinti฀ uno฀ a
uno,฀alternando฀Marron฀Rojo฀Andrea,฀Rojo
Beige฀(V804)฀Rosa฀Marron฀(V803),฀Carne
Dorada฀ (V845),฀ Mars฀ Orange฀ (SC75),
Light฀ Brown฀ (V929)฀ e฀ Flat฀ Red฀ (V957).
Terminata฀la฀base฀dei฀laterizi,฀ho฀effettuato
un฀lavaggio฀con฀Burnt฀Umber฀di฀AK.฀Poi,฀a
pennello฀asciutto฀ho฀eseguito฀vari฀dry-brush
con฀Marron฀Dorado฀(V877),฀Marron฀Claro
(V929),฀ Rojo฀ Beige฀ e฀ Rosa฀ Marron.฀ Una
sottilissima฀ riga฀ con฀ Carne฀ Dorada฀ dipinta
su฀un฀lato฀lungo฀e฀un฀lato฀corto฀di฀ogni฀sin-
golo฀ mattone฀ (a฀ formare฀ una฀ L฀ per฀ inten-
derci)฀mi฀è฀servita฀per฀dare฀profondità฀alla
facciata.

Bibliografia
“Dalla฀ Real฀ militare฀ Accademia฀ alla฀ Regia
Accademia฀ di฀ Artiglieria฀ e฀ Genio”,฀ Elio฀ e
Vittorio฀ del฀ Giudice,฀ Edizioni฀ Il฀ Fiorino,
Modena฀1994

●●●

Exactly 30 years have passed since my military

service and to soothe the nostalgia of that age
and that useful school of life, it seemed right to
stop the memory of it in a piece that depicted a
cadet of my barracks in Piazzetta Accademia 3
in Turin .
PAGE 28

Until before the Second World War, the Royal

Academy of Artillery and Engineers was an
institution where, in more than 200 years,
SOLDATINI฀156
distinguished personalities such as Vittorio
Alfieri, Camillo Benso di Cavour and countless
officers including Alfonso La Marmora,
Cadorna, Diaz and many had been educated.
other.
In 1992, framed in the 1st Military
Engineering Directorate, I lived a wonderful
year within those walls, in a certain sense beco-
ming part of this glorious institution, together
with other boys of the time, now men engaged
in the most varied civil professions, but united
by an indissoluble bond contracted in those
months of conscription.
THE฀PROJECT
The starting idea was to create a piece that
represented a temporal hinge between the cour-
tly era of the Academy and the 90s of the last
century, a period in which I served in that buil-
ding complex, known to the Turinese as
SOLDATINI฀156
"Cavallerizz". Therefore, if the cadet and the
entrance door with bell, light, plaque and
Savoyard coat of arms, refer to the early
1930s, the driveway with the gate and the seve-
red column represent the current state, residual
elements of the original internal courtyard arca-
de on all four sides, lost following the bombings
of the last world war.
The choice of 1927 for the cadet is linked to the
fact that with a new order on the recruitment of
PAGE 29
 officers, no longer drawn from complement
officers, the new admitted to the Royal
Academy of Artillery and Engineers in
November 1927 (109th course) had , for the
first time, a peculiar uniform of theirs, then
definitively regulated in the Military Journal of
1929.
Who knows what our cadet of ninety years ago,
proud and elegant in his pose and in his
uniform, would say if he saw in what state the
Cavallerizza is now and heard all the nonsense
about reusing him?
THE฀FIGURE฀
THE฀UNIFORM
The base is a piece of the historic Turin com-
pany Berruto (Bersagliere in China code
6038), extensively transformed to represent the
cadet of the Regia Accademia in full uniform of
1927.
The new head, recovered from the box of resi-
dual pieces, received a kepì in Magic Sculpt.
PAGE 30
This was actually covered on the outside with a
gray-green beaver cloth with a strip of shiny
black morocco at the bottom. Above, a crimson
wool cord was applied while three threads of the
same color were allocated on the gray-green
band (two on the sides and one on the back).
The visor was in shiny black leather, with an
overlying tricolor silk rosette and a yellow metal
frieze consisting of two crossed cannons sur-
mounted by a flaming grenade. The crimson
wool tassel had a black oval shield in the center
with a white number referring to the company.
The whole was completed by a crimson wool
braid, side buttons in gilded brass and, in the
grand uniform, a plume of black hair worn
straight, fixed on the tassel.
Completely eliminated the blouse to be bersa-
gliere with the blade of a cutter, I modeled on
the smooth surface a new collar and the new
jacket, completing the figure by replacing the
original legs with other fitting long pants.
The color of the uniform was obtained starting
SOLDATINI฀156
from an acrylic base composed of Gris Azul
Oscuro (V904) and Green Sky (V974), fol-
lowed by a first oil shading with a mix of Field
Gray + Light Gray + Copper Oxide Blue all
Abteilung 502 (ABT), a highlight with bluish
gray and light royal blue Mussini (M) + Snow
White Abteilung and finally a second shade
with Field Gray ABT + bluish gray M + vine
black W / N.
The jacket of a cadet, identical in fabric and
model to that prescribed for officers, additional-
ly provided a crimson cloth piping to the collar
and, below this, a gold braid, as a distinctive
sign of the officer cadets, with stars silver pla-
ted.
The long trousers were adorned with side bands
of black cloth with crimson colored central
piping. They were fitted with black leather inso-
les, fastened by golden buttons and metal buck-
les.
The gloves, brown leather for the ordinary
uniform, were white in the great outfit.
THE฀CAPE
This garment was intended for both the ordi-
nary uniform and the large uniform and was in
gray-green beaver cloth, long down to the knee,
with an inverted collar decorated with stars and
a golden braid, with a golden metal clasp consi-
sting of two studs bearing a lion's head in relief,
one with a hook and the other with a chain.
To slightly vary the shade of the cape with
respect to the uniform, while bearing in mind
that these were new clothes, not subjected to
wear, the basic acrylic compound was obtained
by combining Gris Azul Oscuro (V974) +
Field Gray Scale 75 + Gray Green (V866).
Oil lights and shadows are the same as those
made for the uniform but transitions were made
on these with Field Gray ABT, Bluish Gray M
and Royal Blue Light M.
THE฀SETTING
Totally self-made in 8 mm foam, with the sole
exception of the central pillar, dated commercial
reference Pegaso (ASL002).
The bricks were engraved and painted one by
one, alternating Marron Rojo Andrea's, Rojo
Beige (V804) Rosa Marron (V803), Carne
Dorada (V845), Mars Orange (SC75), Light
Brown (V929) and Flat Red (V957) . Once
the base of the bricks was finished, I washed
with Burnt Umber AK. Then, with a dry
brush, I performed various dry brushes with
Marron Dorado (V877), Marron Claro
(V929), Rojo Beige and Rosa Marron. A very
thin line with Carne Dorada painted on one
long side and one short side of each single brick
(to form an L to be clear) helped me to give
depth to the facade.
CREAZIONE
54฀mm฀
Maurizio฀Bruno

Danilo฀Cartacci

Storico:฀Marco฀Colombelli
Base:฀Dino฀Pivato Best฀of฀Show
CONCEPT฀E฀SCULTURA฀ che฀poi฀lo฀attaccò฀con฀la฀baionetta,฀e฀vinse differente฀utilizzando฀una฀scala฀più฀grande.
DI฀MAURIZIO฀BRUNO anche฀ questo฀ scontro.฀ Infine,฀ per฀ evitare Era฀un฀azzardo,฀ma฀mi฀sono฀sempre฀piaciute
Durante฀gli฀anni฀in฀cui฀ho฀intrapreso฀la฀scul- che฀la฀bandiera฀venisse฀riconquistata,฀gli฀fu le฀ sfide.฀ Volevo฀ creare฀ una฀ mischia฀ nella
tura฀ della฀ miniatura฀ storica฀ mi฀ è฀ capitato ordinato฀ di฀ ritirarsi฀ e฀ portarla฀ in฀ salvo. quale฀tutti฀i฀personaggi฀e฀i฀cavalli฀avessero
spesso฀ di฀ andare฀ lontano฀ con฀ la฀ mente, Fantastico!฀ Ecco฀ l’episodio฀ perfetto.฀ Iniziai un฀ ruolo฀ visivo฀ ed฀ emotivo,฀ così฀ decisi฀ di
immaginare฀marce฀forzate฀e฀schieramenti฀di mentalmente฀ a฀ impostare฀ gli฀ elementi,฀ a creare฀ un’impostazione฀ a฀ vortice฀ partendo
soldati,฀imboscate,฀cariche฀a฀cavallo฀e฀brevi immaginare฀ i฀ personaggi฀ e฀ a฀ posizionarli. dal฀basso;฀i฀cavalli฀avrebbero฀avuto฀il฀ruolo
scorci฀di฀vita฀in฀caserma,฀immedesimando- Molte฀ volte,฀ per฀ avere฀ un’idea฀ immediata di฀ guidare฀ la฀ visione฀ dello฀ spettatore.
mi฀in฀quella฀che฀poteva฀essere฀la฀vita฀di฀un utilizzo฀pezzi฀di฀legno฀o฀soldati฀grezzi฀e฀caval- Realizzai฀ i฀ cavalli฀ ognuno฀ con฀ un฀ livello
fante฀o฀un฀ufficiale฀e฀nelle฀emozioni฀estreme li฀ senza฀ testa฀ con฀ i฀ quali฀ creo฀ un฀ bozzetto diverso฀di฀contatto฀al฀suolo,฀collegando฀poi
che฀si฀potevano฀provare฀durante฀una฀batta- fisico฀sul฀tipo฀di฀impostazione฀da฀realizzare฀e le฀ interazioni฀ tra฀ cavallo,฀ cavalieri฀ e฀ fanti.
glia.฀ È฀ durante฀ questi฀ viaggi฀ mentali฀ attra- sugli฀ingombri฀di฀massima.฀Capii฀subito฀che Ma฀ ancora฀ non฀ ero฀ soddisfatto:฀ l’impatto
verso฀ la฀ storia฀ che฀ creo฀ i฀ miei฀ modelli. la฀scena฀avrebbe฀avuto฀un฀impatto฀emotivo visivo฀ non฀ mi฀ soddisfaceva.฀ Condivisi฀ con
Molto฀tempo฀fa฀ho฀maturato฀l’idea฀di฀voler
realizzare฀una฀mischia฀di฀soldati฀in฀combat-
timento,฀ rappresentando฀ la฀ crudeltà฀ di฀ un
campo฀di฀battaglia฀nel฀quale฀ogni฀elemento
della฀ scena฀ avesse฀ un฀ ruolo฀ o฀ raccontasse
uno฀stato฀d’animo:฀terrore,฀coraggio,฀casua-
lità,฀ rassegnazione.฀ Quando฀ con฀ Danilo
abbiamo฀ scelto฀ la฀ tematica฀ per฀ il฀ nuovo
display฀da฀creare฀in฀occasione฀del฀Mondiale,
dopo฀uno฀scambio฀di฀idee฀e฀avendo฀deciso
quale฀ doveva฀ essere฀ il฀ filo฀ conduttore฀ da
seguire,฀cioè฀“combattimento,฀usure฀e฀molto
pathos”,฀ ci฀ siamo฀ resi฀ conto฀ che฀ il
Napoleonico฀era฀perfetto฀come฀periodo฀sto-
rico.฀ Ormai฀ avevo฀ tutto฀ chiaro฀ in฀ mente,
ma฀ora฀bisognava฀passare฀alla฀seconda฀fase,
trovando฀ un฀ episodio฀ storico฀ che฀ potesse
rappresentare฀ tutto฀ questo.฀ Ricordavo฀ che
tempo฀ addietro฀ avevo฀ letto฀ di฀ un฀ episodio
accaduto฀a฀Waterloo฀in฀merito฀alla฀cattura
di฀una฀bandiera฀francese฀da฀parte฀di฀Ewart,
un฀ sergente฀ degli฀ Scot฀ Greys.฀ L’episodio
narra฀ di฀ uno฀ sfondamento฀ da฀ parte฀ della
cavalleria฀ inglese฀ attraverso฀ le฀ linee฀ nemi-
che,฀ dove฀ si฀ trovava฀ il฀ 1°฀ Battaglione฀ del
45°฀Reggimento฀di฀Linea,฀già฀impegnato฀in
un฀ combattimento฀ contro฀ i฀ Gordon
Highlander.฀ L’affondo฀ degli฀ Scot฀ Greys
andò฀in฀profondità฀al฀centro฀dello฀schiera-
mento฀ed฀Ewart,฀trovandosi฀vicino฀al฀porta
Aquila,฀si฀impadronì฀della฀Bandiera.฀Il฀com-
battimento฀ fu฀ serrato:฀ Ewart฀ tagliò฀ con฀ un
fendente฀la฀testa฀di฀un฀fante,฀poi฀ebbe฀uno
scontro฀ con฀ un฀ lanciere฀ al฀ quale฀ con฀ una
sciabolata฀ tagliò฀ la฀ faccia฀ attraversando฀ i
denti,฀riuscì฀a฀schivare฀un฀colpo฀di฀moschet-
PAGE 33

to฀ sparato฀ da฀ un฀ altro฀ soldato฀ di฀ fanteria,

SOLDATINI฀156
 Danilo฀ le฀ mie฀ perplessità,฀ infatti฀ spesso
durante฀le฀nostre฀lavorazioni฀ci฀consultiamo
e฀ consideriamo฀ i฀ vari฀ aspetti฀ del฀ lavoro.
Anche฀ lui฀ percepiva฀ delle฀ difficoltà฀ nella
lettura฀ e฀ la฀ scena฀ andava฀ reimpostata฀ con-
centrando฀ di฀ più฀ le฀ figure.฀ Alla฀ fine,฀ dopo
diverse฀ prove,฀ ecco฀ la฀ soluzione:฀ partendo
dall’idea฀ principale฀ del฀ vortice฀ ho฀ dovuto
conferire฀ al฀ tutto฀ altri฀ due฀ tipi฀ di฀ imposta-
zione,฀quella฀classica฀a฀piramide,฀nella฀quale
l’apice฀era฀dato฀dalla฀bandiera,฀e฀infine฀un
grosso฀dislivello฀in฀discesa.฀Ora฀tutto฀funzio-
nava,฀ le฀ tre฀ impostazioni฀ lavoravano฀ in
sinergia฀tra฀loro,฀il฀percorso฀ottico฀era฀flui-
do.฀Ho฀voluto฀descrivere฀la฀creazione฀della
scena฀ perché฀ penso฀ che฀ sia฀ più฀ istruttivo
sapere฀come฀nasce฀un฀lavoro฀e฀non฀come฀si
realizza.฀Il฀processo฀costruttivo฀delle฀figure฀è
sempre฀ uguale:฀ si฀ parte฀ dal฀ fil฀ di฀ ferro฀ e฀ si
aggiunge฀stucco฀fino฀ad฀arrivare฀alla฀forma
attraverso฀ varie฀ fasi฀ di฀ costruzione,฀ che
implicano฀sia฀la฀modellazione฀a฀fresco฀sia฀la
scultura฀a฀secco,฀con฀tanta฀pazienza฀e฀olio฀di
gomito.฀ Dalla฀ fase฀ concettuale฀ a฀ quella
costruttiva,฀ tra฀ alti฀ e฀ bassi,฀ la฀ realizzazione
mi฀ ha฀ impegnato฀ per฀ quasi฀ tre฀ anni,฀ direi
spesi฀ottimamente฀sia฀per฀l’esperienza฀sia฀per
i฀traguardi฀ottenuti.฀Bene,฀io฀l’ho฀plasmata,
adesso฀passo฀la฀palla฀a฀chi,฀oltre฀al฀titolo,฀le
ha฀dato฀la฀scintilla.

COLORAZIONE฀DI
DANILO฀CARTACCI
Dopo฀aver฀dedicato฀molto฀tempo฀a฀eseguire
opere฀ sul฀ Seicento,฀ periodo฀ storico฀ che
amiamo฀ molto฀ e฀ continuiamo฀ a฀ esplorare,
con฀Maurizio฀ci฀siamo฀chiesti฀su฀quale฀altra
epoca฀avremmo฀potuto฀focalizzare฀il฀display
per฀ il฀ World฀ Expo฀ di฀ Eindhoven.฀ L’idea฀ è
PAGE 34

stata฀ quella฀ di฀ scegliere฀ il฀ più฀ classico฀ dei

periodi,฀cercando฀di฀fare฀qualcosa฀di฀nuovo.

SOLDATINI฀156
Il฀Napoleonico฀è฀stato฀rappresentato฀in฀vari
modi,฀ma฀molto฀spesso฀la฀scelta฀è฀caduta฀su
rappresentazioni฀ quasi฀ idealizzate,฀ eleganti,
sontuose.฀Così฀abbiamo฀pensato฀di฀realizza-
re฀ delle฀ opere฀ che฀ portassero฀ lo฀ spettatore
sul฀campo฀di฀battaglia,฀anzi฀dentro฀la฀batta-
glia.฀ Maurizio฀ ha฀ impiegato฀ circa฀ tre฀ anni
per฀ portare฀ a฀ termine฀ il฀ lavoro฀ di฀ scultura;
durante฀ questo฀ periodo,฀ come฀ facciamo
sempre,฀ ci฀ siamo฀ confrontati฀ per฀ scegliere
l’episodio,฀ verificare฀ la฀ composizione:฀ ci
piace฀lavorare฀in฀team!฀Quando฀finalmente
il฀ gruppo฀ scultoreo฀ è฀ approdato฀ sul฀ mio
tavolo฀da฀lavoro,฀ho฀iniziato฀a฀immaginare฀i
colori.฀ Ovviamente฀ ci฀ sono฀ degli฀ elementi
uniformologici฀fissi,฀i฀colori฀delle฀uniformi,
degli฀accessori,฀sembrerebbe฀che฀non฀ci฀sia
spazio฀per฀la฀creatività,฀non฀è฀così!฀L’amico
storico฀Marco฀Colombelli฀ci฀ha฀fornito฀tutta
la฀documentazione฀necessaria,฀fin฀nei฀mini-
mi฀dettagli.฀Questo฀è฀molto฀importante,฀ci
vuole฀ il฀ rispetto฀ per฀ quello฀ cui฀ si฀ sta฀ lavo-
rando,฀documentarsi฀è฀fondamentale฀quan-
do฀si฀realizza฀un฀figurino฀storico.฀Come฀dare
allora฀quel฀tocco฀vitale฀e฀creativo?฀Procedo
pensando฀ alla฀ composizione฀ cromatica฀ di
tutta฀ l’opera.฀ In฀ questo฀ caso฀ il฀ colore฀ dei
cavalli฀ non฀ è฀ casuale;฀ certo,฀ gli฀ Scot฀ Grey
avevano฀ cavalli฀ grigi,฀ ma฀ di฀ quale฀ tipo?฀ Il
fulcro฀ della฀ composizione฀ è฀ la฀ cattura
dell’Aquila,฀ così฀ ho฀ scelto฀ di฀ realizzare฀ il
cavallo฀rampante฀con฀toni฀drammatici,฀che
catturassero฀lo฀sguardo฀dell’osservatore,฀pur
essendo฀questo฀in฀secondo฀piano.฀Di฀conse-
guenza,฀il฀cavallo฀della฀tromba฀ha฀dei฀colori
più฀ tenui฀ e฀ delicati,฀ mentre฀ il฀ cavallo฀ del
lanciere฀è฀un฀baio฀molto฀scuro,฀quasi฀nero,
che฀ben฀si฀presta฀a฀fare฀da฀sfondo฀al฀colora-
tissimo฀ Highlander฀ che฀ lo฀ sta฀ attaccando,
senza฀ rubare฀ troppo฀ la฀ scena฀ all’episodio
principale.฀ Lo฀ stratagemma,฀ che฀ poi฀ ho
usato฀per฀legare฀ogni฀elemento฀della฀scena,
è฀stata฀l’usura฀data฀dall’ambiente฀e฀dai฀lun-
ghi฀giorni฀di฀campagna฀che฀precedettero฀la
battaglia,฀ più฀ il฀ sangue฀ opportunamente
dosato฀e฀non฀messo฀a฀caso.฀La฀scena฀è฀dipin-
ta฀con฀la฀mia฀consueta฀tecnica,฀che฀prevede
l’uso฀degli฀acrilici฀per฀i฀tessuti฀e฀in฀generale
per฀ tutto฀ ciò฀ che฀ dovrà฀ avere฀ una฀ finitura
opaca,฀e฀dei฀colori฀a฀olio฀per฀gli฀incarnati฀e
le฀parti฀in฀cuoio.
Voglio฀ concludere฀ rivelando฀ un฀ piccolo
trucco:฀come฀realizzare฀le฀scritte฀su฀una฀ban-
diera฀ in฀ modo฀ che฀ risultino฀ perfettamente
centrate฀ e฀ simmetriche?฀ Semplice,฀ bisogna
cominciare฀dalla฀lettera฀centrale,฀nel฀caso฀di
parola฀ con฀ un฀ numero฀ dispari฀ di฀ lettere,฀ o
dalle฀due฀centrali,฀nel฀caso฀di฀parola฀con฀un
numero฀pari.฀Lo฀stesso฀vale฀per฀le฀frasi฀o฀per
più฀parole฀che฀devono฀comparire฀sulla฀stes-
sa฀ riga,฀ tenendo฀ presente฀ che฀ lo฀ spazio
vuoto฀ va฀ contato฀ come฀ fosse฀ una฀ lettera.
Fissato฀il฀centro฀si฀procede฀prima฀scrivendo
le฀ lettere฀ da฀ sinistra฀ verso฀ destra฀ e฀ poi฀ da
destra฀verso฀sinistra,฀in฀questo฀modo฀si฀evi-
terà฀ di฀ incorrere฀ nell’errore฀ che฀ spesso฀ si
vede฀di฀scritte฀che฀partono฀larghe฀e฀poi฀fini-
scono฀strette฀perché฀non฀c’è฀più฀spazio!
PAGE 35

SOLDATINI฀156
 ●●●

CONCEPT฀AND฀
SCULPTURE฀BY
MAURIZIO฀BRUNO
During the years in which I embarked on the
sculpture of historical miniature, it often happe-
ned to me to go far with my mind, imagine for-
ced marches and deployments of soldiers,
ambushes, charges on horseback and brief glim-
pses of life in the barracks, identifying myself
with what could have been the life of an infan-
tryman or an officer and the extreme emotions
that could be felt during a battle. It is during
these mental journeys through history that I
PAGE 36

SOLDATINI฀156
 tional role, so I decided to create a vortex set-
ting starting from the bottom, the horses would
have the role of guiding the viewer's vision. I
made the horses each with a different level of
ground contact, then connecting the interac-
tions between horse, rider and foot. But I was
still not satisfied: the visual impact did not sati-
sfy me. I shared my concerns with Danilo, in
fact we often consult each other during our
work and consider the various aspects of the
work. He too perceived difficulties in reading
and the scene had to be reset by concentrating
the figures more. In the end, after several tests,
here is the solution: starting from the main idea
of the vortex I had to give the whole two other
types of setting, the classic pyramid setting,
where the apex was given by the flag, and final-
ly a big difference in height. downhill. Now
everything worked, the three settings all worked
in synergy with each other, the optical path was
fluid. I wanted to describe the creation of the
scene because I think it is more instructive to

create my models. A long time ago I developed

the idea of wanting to create a melee of soldiers
in combat, I wanted to represent the cruelty of
a battlefield where every element of the scene
had a role or told a mood: terror, courage,
chance, resignation . When with Danilo we
chose the theme for the new display to be crea-
ted on the occasion of the world championship,
after an exchange of ideas and having decided
what should be the common thread to follow,
that is "combat, wear and a lot of pathos", we
realized that the Napoleonic was perfect as a
historical period. By now I had everything clear
in mind, but now we had to move on to the
second phase, we had to find a historical episo-
de that could represent all this. I remembered
some time ago I had read about an incident in
Waterloo about the capture of a French flag by
Ewart, a Sergeant of the Scot Grays. The epi-
sode tells of a breakthrough by the English
cavalry through the enemy lines where the 1st
battalion of the 45th line regiment was located,
already engaged in a fight against the Gordon
Highlanders. The Scot Grays thrust went deep
in the center of the grid and Ewart, being close
to the Eagle gate, took possession of the Flag.
The fight was close: Ewart slashed the head of
an infantryman, then had a clash with a Lancer
whose face he cut through his teeth with a
sword, he managed to dodge a musket shot fired
by another infantry soldier, who then attacked
him with the bayonet, also won this clash.
Finally, to prevent the flag from being recaptu-
red, he was ordered to withdraw and bring it to
safety. Fantastic! Here is the perfect episode. I
started mentally setting the elements, imagining
the characters and positioning them. Many
times, to get an immediate idea, I use pieces of
wood or rough soldiers and headless horses with
which I create a physical sketch on the type of
setting to be made and on the overall dimen-
sions. He quickly realized that the scene would
have a different emotional impact using a larger
scale. It was a gamble, but I've always liked
challenges. I wanted to create a scrum where all
the characters and horses had a visual and emo-

SOLDATINI฀156
 know how a work is born and not how it is
done. The construction process of the figures is
always the same: starting from the wire and
adding stucco, up to the shape through various
construction phases, which involve both mode-
ration in fresco and dry sculpture, a lot of
patience and elbow grease. . From the concep-
tual to the construction phase, between ups and
downs, the realization took me for almost three
years, I would say well spent both for the expe-
rience and for the achievements. Well, I shaped
it, now I pass the ball to those who, in addition
to the title, gave it the spark.

COLORING฀BY฀
DANILO฀CARTACCI
After spending a lot of time performing works
on the 600, a historical period that we love very
PAGE 38

SOLDATINI฀156
much and continue to explore, with Maurizio
we wondered what other historical period we
could focus the display for the World Expo in
Eindhoven. The idea was to choose the most
classic of the periods, trying to do something
new. The Napoleonic was represented in
various ways, but very often the choice fell on
almost idealized, elegant, sumptuous represen-
tations. So we thought of creating works that
would take the viewer to the battlefield, into the
battle. It took Maurizio about three years to
complete the sculpture work. During this
period, as we always do, we confronted each
other to choose the episode, check the composi-
tion, we like to work in a team! When the
sculptural group finally landed on my work
table, I started imagining colors. Obviously
there are fixed uniform elements, the colors of
the uniforms, the accessories, it would seem
that there is no room for creativity, there is no!
The historical friend Marco Colombelli has pro-
vided us with all the necessary documentation,
down to the smallest detail, this is very impor-
tant, we need respect for what we are working
on, and getting informed is essential when
making a historical figure. How then to give
that vital and creative touch? I proceed thinking

about the chromatic composition of the whole

work, in this case the color of the horses is not
accidental, certainly scot greys have gray hor-
ses, but what kind? The focus of the composi-
tion is the capture of the Eagle, so I chose to
create the prancing horse with dramatic tones,
which would capture the eye of the observer,
even if this is in the background. Consequently,
the horse of the trumpet has softer and more
delicate colors, while the horse of the lancer is a
very dark bay, almost black, which lends itself
well to the background of the colorful highlander
that is attacking it, without stealing too much
the scene. main episode. The stratagem, which
I then used to tie each element of the scene, was
the wear and tear given by the environment and
the long days of campaign that preceded the bat-
tle, plus the blood properly dosed and not ran-
domly placed. The scene is painted with my
usual technique which involves the use of acry-
lics for the fabrics and in general for everything
that must have a matte finish, and oil colors for
the complexions and the leather parts.
I want to conclude by revealing a little trick,
how to make the writings on a flag so that they
are perfectly centered and symmetrical? Simple,
you have to start with the central letter, in the
case of a word with an odd number of letters, or
with the two central ones, in the case of a word
with an even number. The same is true for sen-
tences or for several words that must appear on
the same line, bearing in mind that the empty
PAGE 39

space must be counted as if it were a letter.

Once the center is fixed, proceed first by writing

SOLDATINI฀156
PAGE 40

SOLDATINI฀156
the letters from left to right, and then from right
to left, in this way you will avoid running into
the error that you often see of writings that start
wide and then end up narrow because there is
no more space!

SOLDATINI฀156
 CREAZIONE
54฀mm฀
PAGE 42

SOLDATINI฀156
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www.aurigapublishing.it
S
i฀trattava฀di฀una฀scommessa฀e฀forse฀è
stata฀vinta.
La฀XII฀edizione฀della฀Mostra฀Concorso฀di
Modellismo฀ Statico฀ “La฀ Storia฀ a฀ piccoli
sorsi”,฀tenutasi฀a฀Siena฀il฀21/22฀maggio฀di
quest’anno,฀ era฀ nata฀ proprio฀ come฀ una
scommessa.฀ Dopo฀ l’ultima฀ edizione฀ del
2019,฀ la฀ pandemia฀ che฀ ci฀ ha฀ fatto฀ saltare
quella฀del฀2021฀(restiamo฀sempre฀fedeli฀al
biennale)฀ e฀ i฀ tradizionali฀ locali฀ dei
Magazzini฀ del฀ Sale฀ non฀ più฀ disponibili฀ ci
avevano฀fatto฀vacillare,฀ma,฀testardi,฀a฀ini-
zio฀ inverno฀ abbiamo฀ comunque฀ deciso฀ di
organizzarla.
Grazie฀ alla฀ disponibilità฀ della฀ Nobile
Contrada฀ dell’Oca,฀ siamo฀ stati฀ ospitati
nelle฀stanze฀della฀“Tira”,฀in฀spazi฀più฀ridot-
ti฀ rispetto฀ al฀ passato฀ ma฀ anche฀ più฀ acco-
glienti฀e฀soprattutto฀distribuiti฀sullo฀stesso
livello.฀È฀vero,฀abbiamo฀dovuto฀rinunciare
all’area฀ commerciale,฀ sempre฀ gradita฀ ai
visitatori,฀perché฀in฀prossimità฀non฀c’era-
no฀ locali฀ adatti,฀ ma฀ abbiamo฀ guadagnato
un฀bar฀e฀una฀spaziosa฀sala฀per฀le฀premiazio-
ni฀(la฀“nuova”฀Società฀dell’Oca).
I฀ numeri฀ non฀ sono฀ stati฀ eccezionali,฀ ma
comunque฀simili฀alla฀precedente฀edizione,
con฀175฀iscritti฀a฀concorso,฀oltre฀393฀figu-
rini฀storici฀e฀fantasy,฀320฀modelli฀con฀una
sorprendente฀ excalation฀ di฀ Shi-Fi฀ e฀ sce-
nette฀ fantasy฀ (la฀ prossima฀ edizione฀ saran-
no฀sicuramente฀categorie฀di฀una฀classe฀a฀se
stante).
La฀ giuria,฀ capitanata฀ dall’inossidabile
Fabio฀Nunnari,฀era฀quasi฀tutta฀italiana฀e฀di
alto฀ livello;฀ ha฀ effettuato฀ le฀ valutazioni
con฀ equilibrio฀ e฀ professionalità,฀ tanto฀ da
consentire฀ai฀giudici,฀nel฀tardo฀pomeriggio
di฀sabato,฀di฀partecipare฀assieme฀agli฀altri
visitatori฀ alla฀ visita฀ guidata฀ del฀ Museo
della฀Contrada฀del฀Leocorno฀(quello฀della
Contrada฀dell’Oca฀lo฀avevamo฀già฀visitato
nel฀2019).
Altro฀ bel฀ momento฀ è฀ stata฀ la฀ cena฀ del
sabato฀ sera฀ presso฀ i฀ locali฀ del฀ Centro
Sociale฀“La฀lunga฀gioventù”,฀dove฀i฀com-
mensali฀hanno฀potuto฀gustare฀alcuni฀piat-
SOLDATINI฀156
ti฀ della฀ cucina฀ senese.฀ I฀ posti฀ disponibili
erano฀solo฀65฀e฀sono฀andati฀esauriti฀quasi
subito,฀lasciando฀a฀“bocca฀asciutta”฀alcuni
concorrenti,฀ ai฀ quali฀ promettiamo฀ di฀ tro-
vare฀ un฀ locale฀ ancora฀ più฀ grande฀ per฀ il
2024.
Le฀ premiazioni฀ della฀ domenica฀ hanno
avuto฀come฀preludio฀una฀breve฀introduzio-
ne฀ al฀ World฀ Model฀ Expo฀ 2022฀ di
Eindhoven฀ ad฀ opera฀ della฀ signorara
Margot฀ Crombeecke,฀ che,฀ all’ultimo
minuto฀ e฀ con฀ nostra฀ grande฀ sorpresa,฀ è
giunta฀ dai฀ Paesi฀ Bassi฀ per฀ partecipare฀ al
nostro฀concorso.
Speriamo฀che฀siano฀rimasti฀contenti฀tutti฀i
partecipanti,฀accettando฀il฀fatto฀che฀si฀può
vincere฀o฀perdere฀e฀che฀la฀cosa฀più฀impor-
tante฀ è฀ ritrovarsi฀ assieme฀ per฀ condividere
questa฀ bella฀ passione฀ e,฀ perché฀ no,฀ poter
godere฀delle฀bellezze฀artistiche,฀architetto-
niche฀ e฀ culinarie฀ che฀ può฀ offrire฀ la฀ bella
città฀di฀Siena.
Se฀ non฀ salta฀ fuori฀ qualche฀ altro฀ sgradito
“intoppo”,฀vi฀aspettiamo฀il฀18฀e฀19฀maggio
2024,฀ancora฀più฀numerosi฀e฀motivati!
It was a gamble and perhaps it was won.
The twelfth edition of the Static Modeling
Competition Exhibition “History in small
sips”, held in Siena on 21/22 May, was born
just like a bet. After the last edition of 2019,
the pandemic that blew us away that of 2021
(we always remain faithful to the biennial),
the traditional premises of the Salt
Warehouses no longer available made us
waver, but stubborn at the beginning of win-
ter we decided to do it.
Thanks to the availability of the Nobile
Contrada dell’Oca, we were hosted in the
rooms of the "Tira", smaller but also more
welcoming spaces and above all on the same
level. It is true, we had to give up the
Commercial Area (always welcome to visi-
tors) because there were no suitable premises
nearby, but we have gained a Bar and a spa-
cious hall for the awards (the "new" Goose
Company).
The numbers were not exceptional, but still
similar to the previous edition, with 175
entries in the competition, over 393 historical
and fantasy figures, 320 models with a sur-
prising excalation of Shi-Fi and fantasy skits
(the next edition will certainly be categories of
a Class in its own right).
The Jury, headed by the stainless Fabio
Nunnari, was almost all Italian and of a high
level; he carried out the assessments with
balance and professionalism, so much so that
in the late afternoon of Saturday he was able
to participate with the others in the guided
tour of the Contrada del Leocorno Museum
(we had already visited the Contrada dell'Oca
in 2019).
Another good moment was the dinner on
Saturday evening at the premises of the Social
Center "The long youth", where the diners
were able to taste some Sienese cuisine. There
were only 65 seats available and they sold out
almost immediately, however, leaving some
competitors to whom we promise to find an
even bigger venue for 2024.
The Sunday awards ceremony had as a prelu-
de a brief introduction to the WORLD
MODEL EXPO 2022 in Eindhoven by Mrs.
Margot Crombeecke, who at the last minute
and to our great surprise came from Holland
to participate in our competition.
I hope all the participants were happy, accep-
ting the fact that you can win or lose and that
the most important thing is to get together to
share this beautiful passion and, why not, to
be able to enjoy the artistic, architectural and
culinary beauties that beauty can offer. City
of Siena.
If some other unwelcome "hitch" does not
come up, we are waiting for you on 18/19
May 2024 even more numerous and motiva-
ted!
 Prossima edizione:
23≠25/se!embre
2022

Modellismo ferroviario,
militare, navale, aereo,
auto, meccanico.