Un agente de la Corona hispánica en Cerdeña : Pedro Martínez Rubio (1614-1667) y la relación de las fiestas calaritanas por la rendición de Barcelona (1652)

En 1652 el ejército de Felipe IV capitaneado por Juan José de Austria recupera el control de la ciudad de Barcelona, zanjando así el enfrentamiento entre Cataluña y la Corona Hispánica que se conoce como Guerra dels Segadors. La noticia oficial de la victoria llega a Cerdeña el 1 de noviembre de 1652. En Cagliari se decretan varios días de fiesta con ceremonias religiosas, música, luminarias nocturnas y torneos. El objetivo del presente artículo es analizar una relación impresa que describe dichas celebraciones y que representa uno de los escasos ejemplos de relaciones de fiestas en Cerdeña en el siglo xvii. El estudio se centra de manera especial en la figura del promotor de las fiestas: Pedro Martínez Rubio, virrey interino de la isla (1652-1653), eclesiástico muy cercano a la Corte de Felipe IV, partidario y aliado político de Juan José de Austria.In 1652 the Spanish army, under the command of John of Austria, regained control of the city of Barcelona, settling the conflict between Catalonia and the Spanish Crown (the Guerra dels Segadors). The news of this victory reached Sardinia on 1 November, 1652. In Cagliari the local government decreed several days of feasting and thanksgiving, with religious ceremonies, music, fireworks and tournaments. This article aims to analyse a printed text which describes these celebrations. The importance of this account is suggested by the fact that descriptions of festivities are quite rare in early Sardinian news pamphlets. The paper examines in particular the figure of the celebrations' promoter, Pedro Martínez Rubio, viceroy of Sardinia (1652-1653), an ecclesiastic who maintained good relations with the royal court in Madrid and who was a political ally to John of Austria

A Contribution to the study of the distribution of <i>Medicago-Sinorhizobium</i> symbiosis in Sardinia (Italy)

The paper summarizes the results of a Medicago-Sinorhizobium germplasm survey and collection carried out in the island of Sardinia (Italy) in 1998/99 and subsequent laboratory isolation of microbial strains, soil sample analyses and determination of Medicago species. According to a stratified sampling methodology, the major ecological characteristics of island's habitats were taken into account, collecting and surveying mostly in natural or semi-natural habitats (no roadside sites nor cultivated fields were sampled). Forty-six sites, widely distributed in semi-natural representative areas of Sardinia, ranging from sea level to above 1000 m asl, were sampled and 24 were surveyed to gather additional data on species distribution. Root nodules were collected from 15 species (13 annuals) out of the total 21 Medicago species recorded in Sardinia. Isolation of root nodule bacteria accessions and identification of 29 strains were achieved. A total number of 17 species were surveyed and mapped. The present study gives a first contribution to the knowledge of the present distribution of the species of the genus Medicago in Sardinia with special concern to the species recorded or sampled during the survey and highlights the presence of Medicago biodiversity hot spots

Elemental Fingerprinting Combined with Machine Learning Techniques as a Powerful Tool for Geographical Discrimination of Honeys from Nearby Regions

Discrimination of honey based on geographical origin is a common fraudulent practice and is one of the most investigated topics in honey authentication. This research aims to discriminate honeys according to their geographical origin by combining elemental fingerprinting with machinelearning techniques. In particular, the main objective of this study is to distinguish the origin of unifloral and multifloral honeys produced in neighboring regions, such as Sardinia (Italy) and Spain. The elemental compositions of 247 honeys were determined using Inductively Coupled Plasma Mass Spectrometry (ICP-MS). The origins of honey were differentiated using Principal Component Analysis (PCA), Linear Discriminant Analysis (LDA), and Random Forest (RF). Compared to LDA, RF demonstrated greater stability and better classification performance. The best classification was based on geographical origin, achieving 90% accuracy using Na, Mg, Mn, Sr, Zn, Ce, Nd, Eu, and Tb as predictor

Elemental fingerprinting combined with machine learning techniques as a powerful tool for geographical discrimination of honeys from nearby regions

Discrimination of honey based on geographical origin is a common fraudulent practice and is one of the most investigated topics in honey authentication. This research aims to discriminate honeys according to their geographical origin by combining elemental fingerprinting with machine-learning techniques. In particular, the main objective of this study is to distinguish the origin of unifloral and multifloral honeys produced in neighboring regions, such as Sardinia (Italy) and Spain. The elemental compositions of 247 honeys were determined using Inductively Coupled Plasma Mass Spectrometry (ICP-MS). The origins of honey were differentiated using Principal Component Analysis (PCA), Linear Discriminant Analysis (LDA), and Random Forest (RF). Compared to LDA, RF demonstrated greater stability and better classification performance. The best classification was based on geographical origin, achieving 90% accuracy using Na, Mg, Mn, Sr, Zn, Ce, Nd, Eu, and Tb as predictors

Genome-wide Analyses Identify KIF5A as a Novel ALS Gene

To identify novel genes associated with ALS, we undertook two lines of investigation. We carried out a genome-wide association study comparing 20,806 ALS cases and 59,804 controls. Independently, we performed a rare variant burden analysis comparing 1,138 index familial ALS cases and 19,494 controls. Through both approaches, we identified kinesin family member 5A (KIF5A) as a novel gene associated with ALS. Interestingly, mutations predominantly in the N-terminal motor domain of KIF5A are causative for two neurodegenerative diseases: hereditary spastic paraplegia (SPG10) and Charcot-Marie-Tooth type 2 (CMT2). In contrast, ALS-associated mutations are primarily located at the C-terminal cargo-binding tail domain and patients harboring loss-of-function mutations displayed an extended survival relative to typical ALS cases. Taken together, these results broaden the phenotype spectrum resulting from mutations in KIF5A and strengthen the role of cytoskeletal defects in the pathogenesis of ALS.Peer reviewe

El conflicto entre cristianos y musulmanes en las relaciones de sucesos : la liberación de Buda

Este trabajo propone el análisis de una selección de textos escritos en romance sobre la derrota turca y la toma de la ciudad de Buda en 1686, que denuncian la exultante acogida popular de la noticia de las gestas cristianas en Centroeuropa, la percepción del eterno conflicto entre Oriente y Occidente y la proyección del imaginario colectivo del siglo xvii acerca de la lucha contra los infieles.This paper offers the analysis of a selection of texts, written in Romance languages, about the Turkish defeat and the conquest of the city of Buda in 1686, which provide evidence of the popular exultation at the news of the Christian achievements in Central Europe, the perception of the eternal conflict between East and West, and the projection of the seventeenth-century collective imagination regarding the struggle against the infidel

Nostra Signora di Bonaria tra Sardegna, Spagna e Argentina. Genesi, evoluzione e diffusione dell’iconografia / Our Lady of Bonaria among Sardinia, Spain and Argentina. Origin, evolution, and diffusion of the iconography

Il santuario di Nostra Signora di Bonaria, sito su un colle a pochi passi dal porto di Cagliari, custodisce il simulacro ligneo di una vergine invocata come protettrice dei naviganti. In età moderna il suo culto si diffuse dalla Sardegna per tutto il Mediterraneo occidentale, raggiungendo la penisola iberica e salpando poi verso il continente americano, in particolar modo verso l’Argentina, dove è conosciuta come la Virgen del Buen Aire o la Virgen de los Buenos Aires.L’obiettivo del presente saggio è quello di esaminare la genesi dell’iconografia bonariense, la sua evoluzione e le sue varianti tra la fine del Cinquecento e il Settecento, periodo che corrisponde al momento di massima espansione della devozione. Sullo sfondo del potenziamento delle sacre immagini -soprattutto mariane- in epoca postridentina, lo studio si prefigge di realizzare un primo censimento di rappresentazioni pittoriche, grafiche e scultoree, basandosi allo stesso tempo sull’analisi di documenti d’archivio e di agiografie, in modo da leggere l’iconografia e il culto una alla luce dell’altro. The sanctuary of Our lady of Bonaria, located in Cagliari, on the top of a hill in front of the the port, displays the wooden statue of a Madonna considered protector of seafarers. In the Modern Age her cult spread from Sardinia across the Mediterranean, reaching Spain and then crossing the ocean to the Americas, especially Argentina, where it is known as the Virgen del Buen Aire or the Virgen de los Buenos Aires.The aim of this essay is to examine the origin of the iconography, its evolution, and its variations between the end of the 16th century and the 18th century, when the devotion reached its maximum expansion. Considering the importance of sacred images, especially those of the Virgin Mary, in the Postridentine Catholic Church, the purpose of the research is to create a catalogue of paintings, engravings and sculptures representing the Madonna of Bonaria. At the same time, this study is based on the analysis of archival documents and hagiographies, exploring the relationship between the iconography and the cult

Cavaliere inglese, martire africano o santo catalano? L'intreccio di identità nella canonizzazione di San Serapio

Nel 1630 venne aperto ufficialmente il processo di canonizzazione di un personaggio chiamato Serapio, frate mercedario che secondo la tradizione era morto martire nel XIII secolo ma sulla cui vita si conoscevano pochissimi dettagli. La causa si concluse nel 1728, con il riconoscimento del culto immemorabile da parte del Vaticano. In contemporanea apparvero anche le prime rappresentazioni artistiche del personaggio, realizzate da autori di spicco della scuola spagnola del Seicento, come Francisco Zurbarán e Juan Andrés Rizi. Partendo dalle fonti scritte, in particolar modo l'agiografia e i documenti del processo canonico, e passando attraverso dipinti e stampe, il testo analizza come venne costruita la biografia di Serapio e le distinte identità che gli vennero di volta in volta assegnate, sullo sfondo dei conflitti tra Spagna e Inghilterra, da un lato, degli attacchi dei pirati barbareschi alle coste Mediterranee, dall'altro, e infine della Guerra di Successione Spagnola.Área de Historia del Arte. UP

Prelados viajeros y transferencias devocionales : el arzobispo de Cagliari Bernardo de Cariñena (1699-1722) y el culto a la Virgen de la Merced

El artículo analiza la tarea de patronazgo de Bernardo de Cariñena, el último arzobispo español de Cagliari (1699-1722). Durante la larga temporada que pasó al frente de su archidiócesis, este personaje se hizo promotor de distintas empresas artísticas, destacando entre ellas la decoración de una capilla dedicada a la Virgen de la Merced. Este espacio de culto presenta una advocación poco habitual en las iglesias catedrales, sirve de ejemplo de la trayectoria personal del personaje y de cómo los obispos contribuían a menudo a afianzar determinados cultos y advocaciones. A partir de fuentes primarias y secundarias, el estudio vincula la capilla con la carrera eclesiástica de su mecenas. Además, la investigación reflexiona también sobre el significado político e identitario de la capilla de la Merced, realizada en un momento histórico en el que la isla de Cerdeña, en plena Guerra de Sucesión española, pasó primero a manos austracistas y posteriormente a la Casa de Saboya.L'article analitza la tasca de patronatge de Bernardo de Cariñena, l'últim arquebisbe espanyol de Càller (1699-1722). Durant la llarga temporada que passà al capdavant de la seva arxidiòcesi, aquest personatge promogué diverses empreses artístiques, entre les quals destaca la decoració d'una capella dedicada a la Mare de Déu de la Mercè a la seva església catedral. Aquest espai de culte presenta una advocació poc habitual a les esglésies catedrals i és un exemple de com els bisbes contribuïen sovint a reforçar determinats cultes i advocacions. A partir de fonts primàries i secundàries, l'estudi vincula la capella amb la carrera eclesiàstica del seu mecenes. A més a més, la recerca reflexiona sobre el significat polític i identitari de la capella de la Mercè, realitzada en un moment històric en el qual l'illa de Sardenya, en plena Guerra de Successió Espanyola, passà primer a mans austriacistes i posteriorment a la Casa de Savoia.The essay examines the artistic policy of Bernardo de Cariñena, the last Spanish archbishop of Cagliari's diocese (1699-1722). During his long stay in Sardinia he promoted different forms of artistic patronage. The most important was the decoration of a chapel dedicated to Our Lady of Mercy. This chapel shows a devotion very unusual in a cathedral church. It is an example of how the bishops were often a form of transmission of cults. Based on primary and secondary sources, the research establishes the links between Cariñena's ecclesiastical career and the artworks he commissioned. Finally, I propose a reflection in terms of political meanings and identity: the chapel of Our Lady of Mercy was built during the War of Succession in Spain, when the island of Sardinia was transferred from the Hispanic crown to the dukes of Savoy

El patronazgo español en la Cerdeña barroca: arte, poder y devoción

[spa] El hilo conductor de la tesis doctoral es el análisis del fenómeno del patronazgo español en Cerdeña en época barroca, a partir de las obras de arte que encargaron los virreyes y obispos de la isla. Estos personajes, escogidos directamente por el rey por su probada fidelidad a la Corona, formaban la élite que gozaba de la mayor visibilidad política y económica a nivel local. Conocedores del valor del arte como instrumento de poder, algunos de ellos patrocinaron importantes empresas artísticas durante su estancia sarda, como la decoración de iglesias y capillas, la ejecución de monumentos funerarios, el encargo de pinturas y esculturas para sus residencias particulares o la organización de fiestas efímeras. Algunas de estas obras, por su gran envergadura, son consideradas unánimemente como los ejemplos más interesantes de barroco en Cerdeña, por lo cual no son inéditas. Al contrario, a lo largo de las últimas décadas se han hecho avances importantes en su conocimiento, sobre todo gracias a una serie de estudios estilísticos y documentales que han permitido fecharlas e identificar sus autores. No obstante, faltaba una investigación que hiciese hincapié en su contenido intelectual, vinculándolas a los personajes que las patrocinaron y explorando de manera sistemática aspectos como su deseo de expresar riqueza o poder, la propaganda religiosa o política, la identidad nacional o cultural, etc. El objetivo principal de la tesis, pues, ha sido el de realizar un estudio de conjunto que abarque la labor de promoción artística de los patronos más importantes que residieron en Cerdeña, trazando una visión panorámica y evaluando el peso del arte que se hizo por su encargo. Por ello, el fundamento de la investigación se encuentra en los estudios de patronazgo artístico, que reivindican el papel del comitente en la gestación de la obra de arte, y las teorías que interpretan la imagen como documento histórico o testimonio visual, cuyo principal representante es Peter Burke. El diseño metodológico se ha desarrollado a través de dos fases paralelas. La primera ha consistido en la observación atenta y minuciosa de las obras, que ha sido acompañada por un riguroso análisis iconográfico-iconológico, para “leer” correctamente su significado simbólico. La segunda se ha resuelto en un trabajo de búsqueda y consulta de documentación primaria y secundaria relacionada con los patronos. Una vez recogidos los datos, se ha realizado una operación de análisis crítico para establecer los vínculos entre los materiales encontrados y las obras de arte. El trabajo de campo se ha realizado inicialmente utilizando los recursos disponibles en la ciudad de Barcelona, extendiéndose posteriormente a varios archivos y bibliotecas de ciudades como Cagliari, Madrid, Toledo, Ávila, Génova, Roma, Nápoles y Palermo. Es decir, teniendo en cuenta el perfil internacional de los patronos estudiados, que a lo largo de sus carreras políticas y eclesiásticas eran desplazados en distintos territorios bajo dominio español, se ha tratado fundamentalmente de ir siguiendo sus pasos. La decisión de centrar las búsquedas documentales en torno a las figuras de los comitentes, y no únicamente en los artistas, como se había hecho en la práctica totalidad de las investigaciones anteriores, ha permitido localizar numerosas fuentes inéditas que han ayudado en el proceso de lectura de la imagen y al mismo tiempo han revelado que los casos de patronazgo español en Cerdeña fueron más numerosos de los que se conservan hoy en día. La puesta en común de los casos particulares ha permitido apreciar la diversidad de los intereses artísticos de los virreyes y obispos estudiados, pero a la vez identificar divergencias y convergencias entre sus políticas culturales y, tras la correspondiente evaluación crítica, delinear unas tendencias comunes y proponer un modelo interpretativo del fenómeno del patronazgo español en Cerdeña.[eng] This thesis analyses the artistic policy of the most important patrons who lived in Sardinia during the Baroque age: the viceroys and the Spanish bishops. During their stay in Cagliari, these aristocrats, chosen by the king for their loyalty to the Crown, promoted and supported many different forms of visual arts. Some of them concentrated on embellishing the town’s cathedral and royal palace, others made important donations to churches, others promoted the ephemeral arts and others acquired paintings, sculptures, relics or devotional objects that afterwards they brought with them back to Spain. Recently several stylistic and documentary studies have been published on these artworks, allowing to date them and to identify their authors. However, most researchers have focused their attentions on the artists, so that very little was known about their clients. The principal aim of the thesis, thus, is to propose an overall reflection on Spanish patronage in Sardinia. As far as the methodology is concerned, the research process started by observing and examining the artworks using the iconographic-iconological method, in order to investigate their intellectual and symbolic meaning. Afterwards, I carried out a meticulous research of primary and secondary sources related to the patrons, with the purpose of proposing a new approach to their artistic interests and establishing the links between their political and ecclesiastical career and the artworks they commissioned. The data collection process began in the archives and libraries of Barcelona. The second step was extending the research to other cities, such as Cagliari, Madrid, Toledo, Avila, Genova, Rome, Naples and Palermo. In fact, the Spanish viceroys and bishops were often displaced in different territories within the Spanish empire. In order to fully understand their artistic commissions, thus, it is necessary to “follow their footsteps” and consult widely scattered sources. Finally I analysed and compared the data with the purpose of offering a panoramic view of the artistic policy of viceroys and bishops. The analysis of individual case studies shows diversities, but at the same times reveals similarities within their artistic interests, allowing proposing an interpretative model of the phenomenon of Spanish patronage in Sardinia