[Q]: What is the answer for the question: What is the code name of the device that was developed after it had a code name? from the following article ? The term "Gadget" was a laboratory euphemism for a bomb, from which the laboratory's weapon physics division, "G Division", took its name in August 1944. At that time it did not refer specifically to the Trinity Test device as it had yet to be developed, but once it was, it became the laboratory code name. The Trinity Gadget was officially a Y-1561 device, as was the Fat Man used a few weeks later in the bombing of Nagasaki. The two were very similar, with only minor differences, the most obvious being the absence of fuzing and the external ballistic casing. The bombs were still under development, and small changes continued to be made to the Fat Man design.To keep the design as simple as possible, a near solid spherical core was chosen rather than a hollow one, although calculations showed that a hollow core would be more efficient in its use of plutonium. The core was compressed to prompt super-criticality by the implosion generated by the high explosive lens. This design became known as a "Christy Core" or "Christy pit" after physicist Robert F. Christy, who made the solid pit design a reality after it was initially proposed by Edward Teller. Along with the pit, the whole physics package was also informally nicknamed "Christy['s] Gadget".Of the several allotropes of plutonium, the metallurgists preferred the malleable phase. This was stabilized at room temperature by alloying it with gallium. Two equal hemispheres of plutonium-gallium alloy were plated with silver, and designated by serial numbers HS-1 and HS-2. The 6.19-kilogram (13.6 lb) radioactive core generated 15 W of heat, which warmed it up to about 100 to 110 F (38 to 43 C), and the silver plating developed blisters that had to be filed down and covered with gold foil; later cores were plated with nickel instead. The Trinity core consisted of just these two hemispheres. Later cores also included a ring with a triangular cross-section to prevent jets forming in the gap between them.
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[A]: Gadget

[Q]: What is the answer for the question: What is the name of the person described in the dedication of the revised and republished libretto as "[the] most celebrated Apollo of the century and the highest intelligence of the heavens of humanity"? from the following article ? Despite the positive reception accorded to L'Arianna at its premiere, the duke did not request a second showing, as he had with L'Orfeo the previous year". The next hint of a performance of L'Arianna is in 1614, when the Medici court in Florence requested a copy of the score, presumably with the intention of staging it. There is, however, no record of any such performance there. Early in 1620 Striggio asked Monteverdi to send him the music for a projected performance in Mantua as part of the celebration for the Duchess Caterina's birthday. Monteverdi went to the trouble and expense of preparing a new manuscript with revisions; had he had more time, he informed Striggio, he would have revised the work more thoroughly. Hearing nothing further from the Mantuan court, Monteverdi wrote to Striggio on 18 April 1620, offering to help with the staging. A month or so later, however, he learned that the duchess's celebrations had been scaled back, and that there had been no performance of L'Arianna.There is some evidence to suggest a possible performance in Dubrovnik, in or some time after 1620; a Croatian translation of the libretto was published in Ancona in 1633. However, the only known revival of the work came in Venice, in 1640. Public theatre opera had come to the city in March 1637, when the new Teatro San Cassiano opened with a performance of L'Andromeda by Francesco Manelli. The popularity of this and other works led to more theatres converting their facilities for opera; L'Arianna was chosen to inaugurate the Teatro San Moise as an opera house during the 163940 Carnival (the precise date of this performance is not recorded). A revised version of the libretto had been published in 1639, with substantial cuts and revisions from the 1608 version to remove passages too specifically linked to the Mantuan wedding. The composer, who was by then 73 years old, had acquired considerable prestige in Venice, having been director of music at St Mark's Basilica since 1613. The dedication in the revised and republished...
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[A]: Monteverdi

[Q]: What is the answer for the question: What is the full name of the person Frederic Leighton used as a model? from the following article ? Hope is traditionally considered by Christians as a theological virtue (a virtue associated with the grace of God, rather than with work or self-improvement). Since antiquity artistic representations of the personification depict her as a young woman, typically holding a flower or an anchor.During Watts's lifetime, European culture had begun to question the concept of hope. A new school of philosophy at the time, based on the thinking of Friedrich Nietzsche, saw hope as a negative attribute that encouraged humanity to expend their energies on futile efforts. The Long Depression of the 1870s wrecked both the economy and confidence of Britain, and Watts felt that the encroaching mechanisation of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless. In late 1885 Watts's adopted daughter Blanche Clogstoun had just lost her infant daughter Isabel to illness, and Watts wrote to a friend that "I see nothing but uncertainty, contention, conflict, beliefs unsettled and nothing established in place of them." Watts set out to reimagine the depiction of Hope in a society in which economic decline and environmental deterioration were increasingly leading people to question the notion of progress and the existence of God.Other artists of the period had already begun to experiment with alternative methods of depicting Hope in art. Some, such as the upcoming young painter Evelyn De Morgan, drew on the imagery of Psalm 137 and its description of exiled musicians refusing to play for their captors. Meanwhile, Edward Burne-Jones, a friend of Watts who specialised in painting mythological and allegorical topics, in 1871 completed the cartoon for a planned stained glass window depicting Hope for St Margaret's Church in Hopton-on-Sea. Burne-Jones's design showed Hope upright and defiant in a prison cell, holding a flowering rod.Watts generally worked on his allegorical paintings on and off over an extended period, but it appears that...
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[A]:
Dorothy Dene