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.

Serlianas durante el Renacimiento italiano y español: del triunfo de la religión católica al lenguaje imperial

This article presents a panoramic view of the development of the so-called serliana or Serlian motif throughout the Italian Renaissance, focusing on the most relevant examples in the architecture of that period. The use of this motif during the Early Renaissance was pioneered by Filippo Brunelleschi in religious buildings. As its employment become widespread in a range of different settings, architects frequently incorporated local building traditions. It was only during the last twenty years of the Quattrocento that Giuliano da Sangallo and Leonardo da Vinci adopted the Serlian arch in residential architecture designed for the ruling elites. Thanks to Bramante and other artists such as Raphael, Baldassare Peruzzi, Antonio da Sangallo the Younger and Giulio Romano, the motif was extraordinarily popular during the High Renaissance period. Ever-increasingly complex and monumental compositions eased the adaptation of the serliana to both exterior and interior spaces, and in works such as the design by Galeazzo Alessi in Genoa, the imperial connotation of the motif is clear. This process illustrates the progressive transfer from the religious to the courtly sphere, and, at the same time, the permeability between the sacred and the profane. During the sixteenth century, Spain too was at the European avant-garde, due to its contacts with Italy and the latest fashions, such as the employment of the serliana in residential architecture, were followed in the fortified palace at La Calahorra, the Vich palace in Valencia, or the palace of Charles V in Granada, as part of a complex iconography of power. Throughout the sixteenth century, the serliana featured in that specifically-Spanish typology, the monumental altarpiece or retablo, as well as in monumental tombs. Italy was certainly the leading force in the process and had an indisputable influence on Spanish art, but the latter would develop its own original solutions in the sixteenth century, which matched the innovative character of Italian creations.

Monte Carlo simulation of x-ray emission by kilovolt electron bombardment

A physical model for the simulation of x-ray emission spectra from samples irradiated with kilovolt electron beams is proposed. Inner shell ionization by electron impact is described by means of total cross sections evaluated from an optical-data model. A double differential cross section is proposed for bremsstrahlung emission, which reproduces the radiative stopping powers derived from the partial wave calculations of Kissel, Quarles and Pratt [At. Data Nucl. Data Tables 28, 381 (1983)]. These ionization and radiative cross sections have been introduced into a general-purpose Monte Carlo code, which performs simulation of coupled electron and photon transport for arbitrary materials. To improve the efficiency of the simulation, interaction forcing, a variance reduction technique, has been applied for both ionizing collisions and radiative events. The reliability of simulated x-ray spectra is analyzed by comparing simulation results with electron probe measurements.

Monte Carlo simulation of x-ray spectra generated by kilo-electron-volt electrons

We present a general algorithm for the simulation of x-ray spectra emitted from targets of arbitrary composition bombarded with kilovolt electron beams. Electron and photon transport is simulated by means of the general-purpose Monte Carlo code PENELOPE, using the standard, detailed simulation scheme. Bremsstrahlung emission is described by using a recently proposed algorithm, in which the energy of emitted photons is sampled from numerical cross-section tables, while the angular distribution of the photons is represented by an analytical expression with parameters determined by fitting benchmark shape functions obtained from partial-wave calculations. Ionization of K and L shells by electron impact is accounted for by means of ionization cross sections calculated from the distorted-wave Born approximation. The relaxation of the excited atoms following the ionization of an inner shell, which proceeds through emission of characteristic x rays and Auger electrons, is simulated until all vacancies have migrated to M and outer shells. For comparison, measurements of x-ray emission spectra generated by 20 keV electrons impinging normally on multiple bulk targets of pure elements, which span the periodic system, have been performed using an electron microprobe. Simulation results are shown to be in close agreement with these measurements.

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