Filologia e storia per gli affreschi di Agnolo Gaddi nella cappella Castellani in Santa Croce
Bibliographic record
Abstract
Dopo gli studi sulle pitture di Agnolo Gaddi nella cappella maggiore di Santa Croce l'autrice si concentra su una inedita analisi del ciclo affrescato da Agnolo nella cappella Castellani della stessa chiesa, con un complesso programma iconografico che include le Storie di sant'Antonio abate, di san Giovanni Battista, san giovanni evangelista, san Nicola e altre figure di santi, inclusi quelli francescani. Alla luce del ruolo svolto dalla famiglia, in particolare dal committente Michele di Vanni Castellani, l'autrice ricostruisce il nesso tra le scelte iconografiche e solennità e ricorrenze legate alle circostanze storiche dell'epoca, volte a esibire l'adesione della famiglia alla Parte Guelfa e l'appartenenza all'oligarchia di governo. Sulla base di questi elementi e dell'analisi stilistica l'autrice sostiene la seriorità di questo ciclo rispetto a quello della cappella maggiore, ribaltando la cronologia generalmente sostenuta negli studi critici. \n \nAfter the recent conservation and related study of the Legend of the True Cross frescoed by Agnolo Gaddi in the main chapel of Santa Croce in Florence, scholarly attention now shifts to the other cycle painted by the artist in the Franciscan church: the Stories of Saints Anthony Abbot, John the Baptist, John the Evangelist and Nicholas, as well as figures of Evangelists, Prophets and other Saints in the Castellani Chapel. The author proposes that this cycle postdates the one in the cappella maggiore, noting the emergence of the neo-Giottesque style adopted by Agnolo during the final phase of his career. She reconstructs the relationship between the patrons of the two chapels \n— the Alberti and the Castellani — within the context of Florentine political history of the 1380s, and recognizes that the iconography of the Castellani Chapel reflects that family’s affiliation with the Guelph oligarchy that controlled the government of the Republic.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.004 |
| Science and technology studies | 0.005 | 0.003 |
| Scholarly communication | 0.005 | 0.001 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.020 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".