Artistic Features of The Book of the Triumph of Fortitude and Prudence (a Manuscript from The National Library of Russia)
Bibliographic record
Abstract
The article examines a set of miniatures from a French manuscript dating to the first quarter of the 16th century (Fr.F.v.XV.1) held in the National Library of Russia (NLR), a vast deposit of medieval European documents. This codex is a humanist treatise Le livre du triomphe de la force et de la prudence (The Book of the Triumph of Fortitude and Prudence) written by Jean Thenaud, a French writer, traveler, and the confessor of Francis of Angoulême (Valois), the future King Francis I (1515–1547). Le Triomphe des vertuz (The Triumph of the Virtues) is a cycle of moral treatises by Jean Thenaud. The manuscript copies of these works are gathered in several codices, one of which is in the Manuscripts Department of the National Library of Russia (Fr.F.v.XV.1) while the others are in France (Fr. 144, Fr. 443 in the National Library of France and Ms. 3358 in the Arsenal library). The codex from the National Library of Russia is a presentation copy for Louise of Savoy, the mother of the King of France Francis I. Her children were to be taught morals through these treatises: The Triumph of Prudence for Marguerite Valois, and The Triumph of Fortitude for Francis Valois. Prior to its acquisition and removal from the Saint-Germain-des-Prés Abbey by the Russian diplomat and bibliophile P.P. Dubrovsky, the manuscript belonged to Bibliothèque du Roi (the Library of the Kings of France). The National Library of France holds a manuscript (Fr. 144) that continues the St. Petersburg codex. In each Triumph, its author, Jean Thenaud, presents an imaginary pilgrimage journey to the Holy Land, filled with allegories and metaphors. The codex Fr.F.v.XV.1 from the National Library of Russia includes 19 miniatures depicting his journey, painted by two anonymous artists. The stylistic contrast of the codex kept in St. Petersburg makes it a peculiarly interesting piece of art. The miniatures of the first master are influenced by the Rouen school of painting, whereas those of the second one are inspired by Italian artists invited to France and by Antwerp Mannerism.
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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 | 0.003 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.007 | 0.001 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.013 | 0.005 |
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".