5 centesimi	Green
20 centesimi	Blue
40 centesimi	Pink

As we can see the 5 centesimi is now green, from black as it was in the first issue.
Why this new set?
The first issue was supposed to be of the "engraving" type, but the need to go quickly in production and the good looking of the subject presented by Matraire made them to become lithographed.
Nevertheless the Postal Administration believed that this system was easy to falsify and that it was possible to eliminate or hidden easily the cancellations, especially in the black 5 centesimi value. That this in reality did not happen is another story.
Besides that the general looking of the stamps was downgrading and this was not liked to the point that protests were raised against Matraire himself.
Matraire, not really a rich man, to avoid to loose the business, for which probably he left in the corner other customers, played in advance by promoting himself a new issued produced with a new system invented by him: the stamps, on his own words, "ne pourront plus servir après la marque annulée et qu'il sera absolument impossible de contrefaire" ("could not anymore be used after the cancellation and it will be absolutely impossible to forger them").
Matraire succeeded in his aim and the Administration was very satisfied of his work to the point that they bought the machinery for 27,500 francs, assigning to him the contract for the fabrication of the stamps and even providing the paper, made by the Cartiera Capucino from Turin (other studies state that the paper was provided by the Matraire himself).
The model engraving was done by Giuseppe Ferraris, the engraver of the Royal Coin House.
The printing system was the relief-graphic one, a true new thing never tried before. Not even the ink was necessary!
The subject is the same of the previous issue, to whom I invite you for the description.
The print was made in dry relief on colored paper, machine made, thin, not watermarked, in sheet of 100 pieces, divided in 4 groups of 25 separated by inter-spaces, while the distribution was done in sheets of 50 pieces (10 rows of 5 pieces). The engraving pressure was sometimes so strong to crack the paper, especially around the effigy oval.
The drawing, if we are so lucky to still find some sample that carries the engraving well defined, is precise and very detailed. Nevertheless not always the stamps present themselves so well defined and often is difficult to identify the details. To that we have to add the gum that has the tendency to literally crack the paper giving a look not at all pleasant. Very uniform instead is the color shade, with the exception of some variation on the 40 centesimi.


The quantities are unknown for this issue too, but in the same way as for the previous issue, from the Rattone data we can guess them in the following amounts (data are absolutely indicative):

5 centesimi	<130,000
20 centesimi	<370,000
40 centesimi	<50,000

Other sources give respectively 70,000, 250,000 and 40,000 pieces.

Between the most important varieties we know the existence of double and triple dry embossing and couples with group inter-space (very rare).
We are aware of essays prepared by Matraire and of some reprints made by him in 1863 with color slightly changed.
They were valid up to their complete clearance.