Bibliographic record
Abstract
Abstract The study of Passion imagery in the New World is located at the crossroads of artistic expressions, historical moments, and interests. It must consider issues of iconography, local devotion, agency, identity, and the materiality of artworks, but also connections to belief, piety, and the colonial context. The Passion of Christ encompasses the last moments in the life of Jesus: from his death sentence and the torments he suffered, to his execution through Crucifixion at Mount Golgotha. Although Passion imagery depicts moments narrated in the four canonical Gospels, artists also found inspiration in apocryphal texts, Spanish mystic literature, and European images that traveled in the form of engravings, which were sources abundantly used in Ibero-America. Spanish, Flemish, and Italian sources circulated in America, providing Passion images with particular characteristics. At the same time, local history was incorporated into the representation of these last moments of the life of Jesus, such as in cases of the Christ of Ixmiquilpan in colonial Mexico or the Christ of the Earthquakes, in Cusco, Peru. Generic Passion images became specific cult images due to their miracles, which were particularly important in the Americas as part of the evangelization process and the preservation of the colonial political order. The indigenous populations of America were in many occasions intertwined in these stories around images of Christ. Soon after the conquest, indigenous people also became manufacturers of these images. Passion imagery is found in the form of painting, sculpture, engraving, and architecture, becoming, in certain cases, Gesamtkunstwerk, or total works of art, since buildings and their interiors make use of many art forms under a unifying concept related to the Passion of Christ, such as sanctuaries dedicated to Jesus or architectural renditions of the Way of the Cross.
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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 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.008 | 0.018 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.007 | 0.000 |
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".