Bibliographic record
Abstract
The word "grotesque"-which is now part of our everyday languageoriginated in the Italian Renaissance.The term was originally a noun defining an extravagant style of decorative art found in ancient Roman ruins, unearthed in the fifteenth century and commonly called grotte (caves) by the populace.Among these "caves" we find the rooms and corridors of Emperor Nero's Domus Aurea, the unfinished palace complex started after the Great Fire of Rome in AD 64, which had become overgrown and buried over the ages.Inside these newly discovered ruins, artists like Raffaello, Pinturicchio, and Signorelli found a new source of inspiration: a series of mysterious images of monstrosities, sensual mythologies, alchemical symbols, and Egyptian hieroglyphs.Imbued with such a striking form of alterity, these artists brought to the sources a new style of painting, reminiscent of antiquity and yet very well anchored in early modern iconography.Since the outstanding work done by Paola Barocchi in compiling a corpus of sixteenth-century Italian texts on the visual arts, the Renaissance debate on the paintings known as grotesques has become increasingly important in the contemporary academic inquiry.This is due mostly to the multiplicity of academic aspects that are involved in it.Such paintings, as Dorothea Scholl well underlines in her preface, were the object of controversies that concerned not only the context of aesthetics and the visual arts, but also the domains of poetry, theology, and natural philosophy.The debate on the grotesque, moreover, became quickly involved with the major debate on images generated by the Reformation and the Counter-Reformation.Just like other artistic genres in contact with non-Christian antiquity, the grotesques progressively became the symbols of a culture of hybridity and decadence that needed to be purged from the Christian world.Acciarino's work on this subject is quite remarkable, as it unveils crucial aspects of the post-Tridentine development of such a debate.Acciarino's selection of letters in the vernacular from the years 1580 to 1581 reveals the
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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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.002 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.065 | 0.028 |
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".