Bibliographic record
Abstract
This bibliography concentrates primarily on Venetian art and artists of the 15th and 16th centuries. In this period the achievements of the city’s painters, sculptors, and architects reached unparalleled heights. Though the tradition came back to life in the 18th century, most would agree that the “golden age” of Venetian art occurred in the two Renaissance centuries. The particular visual power of Venetian art in this period was immediately recognized, though it was often seen by outsiders as too naturalistic, sensual, or color based, or as insufficiently concerned with elevating intellectual ideas or forms. Many of the items listed in this bibliography bear witness to a remarkable revival of critical, scholarly, and public interest in the tradition over the late 20th and early 21st centuries. Though this upsurge initially began under the impact of Romantic, and then modernist, values, it has since taken on a new kind of historical objectivity under the impact of the foundation and development of art history as an academic discipline. Since the mid-19th century, study of the art of Renaissance Venice has been founded on close and systematic scholarly study, and to this extent it has represented a concerted attempt to understand the tradition on its own terms or in relation to its original artistic, social, and religious meanings and functions. This broad move toward historical contextualism has offered many new insights into the original material practices, processes, and discourses by and through which Venetian artworks were made and understood in their time. It has delivered a new understanding of just how far such works mirror the unique social, cultural, and physical environment of Venice itself, and of how far they represent an integral expression of the city’s emergent sense of itself.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.005 | 0.006 |
| Scholarly communication | 0.004 | 0.001 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.009 | 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".