El Jardín de Falerina, Francisco de Rojas Zorrilla, Antonio Coello Ochoa y Pedro Calderón de la Barca. Edición, introducción y notas de Felipe B. Pedraza Jiménez y Rafael González Cañal, (Barcelona: Octaedro, 2010)

Parece mentira que una pieza teatral firmada por Calderón de la Barca haya tardado más de tres cientos años en aparecer impresa y que sea ahora,en el 2010, cuando lo haga por primera vez. ¿A qué se debe esta falta de interés por la obra?La respuestanos la ofrecen Felipe B. Pedza Jiménez y Rafael González Cañal en el capítulo que abre el estudio preliminar de su edicion tulado«Razones de una sin razón»

Antonio Agustín, Bologna e l’antiquaria del Cinquecento

One of the founders of numismatics in Modern Age was the archbishop of Tarragona and renowned jurist Antonio Agustín. He was educated during the mid-sixteenth century mainly in Italy, particularly in Bologna and Padua. His role in the development of antiquarian studies – and interest in collecting – ran parallel to the development of numismatics in the Cinquecento. His interest in realia , i.e., the materials and documents perceived as primary evidence of history understood in a global sense, make him a pioneer in setting the trends and methodologies which would be later employed by Bernard de Montfaucon. The period Antonio Agustín spent in Bologna, at the Reale Collegio di Spagna, between 1539 and 1544, afforded him the opportunity to enter a very cultivated circle where the admiration and study of the Antique was well established since the mid-fifteenth century. The cultural effervescence taking place in Bologna was encouraged by the court of Giovanni II Bentivoglio and the University alike. Artists also contributed to the development of antiquarian knowledge, and the painter Amico Aspertini (ca. 1475-1552) exemplifies this. It is clear that Antonio Agustín certainly benefited from the scholarly environment in Bologna during the first half of the Cinquecento, which had been firmly anchored since the fertile Quattrocento. Although the documentary evidence is scarce, and it is difficult to pinpoint the details, it is undeniable that Antonio Agustín was heavily influenced by his Bolognese experience.

De Francisco a Marco Antonio Aldana pasando por Gaspar

It is traditionally considered that the «Aldana», whom Gaspar Gil Polo praises at the end of his «Canto de Turia» (1564), was Francisco de Aldana, the «divino». It is nonetheless more probable that it was in fact rather the Valencian poet, Marco Antonio Aldana, almost forgotten today, but very much in the public eye within the cultivated circles of the end of the sixteenth century Valencia