COUNTRY HOUSE LIFE <i>Creating paradise: the building of the English country house, 1660–1880</i>. By Richard Wilson and Alan Mackley. London: Hambledon, 2000. Pp. xx+428. ISBN 1-85285-252-6. £25. <i>The polite tourist: four centuries of country house visiting</i>. By Adrian Tinniswood. London: The National Trust, 1998. Pp. 224. ISBN 0 7078 0224 5. £24.99. <i>Country house pastimes</i>. By Oliver Garnett. London: The National Trust, 1998. Pp. 48. ISBN 0-7078-0284-9. £4.99. <i>The British country house in the eighteenth century</i>. By Christopher Christie. Manchester: Manchester University Press, 2000. Pp. xvi+333. ISBN 0-7190-4724-2 (hb); 0-7190-4725-0 (pb). £49 and £17.99. <i>The fate of the English country house</i>. By David Littlejohn. Oxford: Oxford University Press, 1997. Pp. xviii+344. ISBN 0-19-508876-X. £20. <i>The dukes: the origins, ennoblement and history of twenty-six families</i>. By Brian Masters. London: Pimlico, 2001. Pp. x+390. ISBN 0-7126-6724-5. £12.50.
Bibliographic record
Abstract
It is nearly a quarter of a century since the publication in 1978 of Mark Girouard's magnificent study, Life in the English country house. The book appeared at what we can now recognize to have been an important moment for the stately homes of England. After the years of post-war austerity, the growth in private car ownership had begun to make the countryside increasingly accessible. Many of the weekend journeys spawned by this new affluence were to country houses, a trend speeded up by the exposure several high profile houses enjoyed as period settings for television dramas. Brideshead revisited in 1981 was the pioneer, set as it was in the grounds of Castle Howard. In many respects it has never been bettered, but it has certainly been followed, to the extent that hardly a great house has failed to attract a film crew and some have been visited repeatedly. Nor has this new exposure been confined to the cinema and television. The private mansions from which the working classes were traditionally excluded have opened their doors to paying customers, and their shops to anyone with cash and credit cards.
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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) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.002 | 0.002 |
| Scholarly communication | 0.004 | 0.005 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.033 | 0.008 |
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".