5 centesimi	Green
20 centesimi	Blue
40 centesimi	Red

Once again it's interesting to know why this new issue was made.
Everything originates mainly from a value recognition problem by the postal workers who were in difficulty to distinguish the colors (especially the green of the 5 centesimi from the blue of the 20 centesimi) with the small light often available (let's not forget that the electricity id not exist yet). Besides that there was the desire to get the royal effigy in more evident way may be embossing it in a white background. The thing was submitted to Matraire that started to work around it to prepare a new issue.
He maintained the dry relief system, but embossing it on a background printed in lithography. The paper was anyway white. The Matraire with all probability modified also his printing machine.
In substance it is the same stamp of the second issue, printed in white paper on colored typographic background.

The printing was made in sheets of 50 parts (10 rows of 5), as said, on white paper, every well manufactured both thin and thick, not watermarked, machine made. It's curious how the Postal Administration considered this issue as a simple modification of the previous one and therefore does not exist a Decree related to its issue.
To be noticed how the printing pressure broken sometimes the paper (especially the thicker one) almost always in the oval the encloses the effigy, in the top left part, on the back of the nape. Curiously during the years there have been tentatives to repair this characteristic that, being part of the origin of these parts, should instead be considered quite normal and not a defect.
The printing of the background and of the relief were done in different times (it is far away the very skilled technique of the Lombardy-Venetia perforated issues...) therefore we can see often shifting between drawing and relief.
We don't know the quantity printed, not even a guess, of the issue.
The color shades differ quite a bit between the various printing runs, especially in the 5 centesimi, probably due to the mix of inks not really identical.
Between the main varieties there are the double and triple dry embossing and the double dry embossing upside down.
We are aware of reprints made by Matraire in 1863 with different colors from the originals.

A parenthesis has to be opened for those that are considered "not issued" of this issue.
We can find in fact new samples, much more common than the ones issued regularly complete and gummed, that present the relief less evident than the usual ones. They have also color shades slightly different. Even the dimension and the shape of the white central oval are slightly different, a bit more squared. Some texts sustain that are usual parts that by mistake got the gum after the printing and not before as normally was happening; this should have brought to a flattening of the relief and therefore to the non utilization. Other sustain that are real waste of printing. Personally, besides the fact that they were gummed before or after the printing, the fact itself that the oval presents a different shape, that the same presents itself always out of center in comparison with the color printing and that the color shades are not fully the same as the originals makes me thinking that they are sheets badly made and discarded.