Chen, Andrew H. Flagellant Confraternities and Italian Art, 1260–1610: Ritual and Experience
Bibliographic record
Abstract
Italian Art, 1260-1610 examines the art and ritual of flagellant confraternities in Italy from the fourteenth to the seventeenth century.Chen's is a rich, interdisciplinary study of the visual and material culture found in flagellant confraternities.Through detailed analyses of arts and rituals, he paints a clear picture of public flagellant processions and private devotions.The book includes a section on the transformation of the liturgical devotions of confraternities, especially after the Council of Trent.Chen aims to show what it meant to engage with artwork in the Middle Ages and the Renaissance, especially among lay men and women who had not taken the vow but were members of confraternities where their devotions sometimes became part of public spectacle.Chen presents the flagellant confraternities in their historical, theatrical, devotional, and artistic forms.The book focuses on art patronage and ritual practices of flagellant confraternities in relation to how lay people contemplated God, the lives of saints, sin, and salvation.Chen argues that visual stimulation-such as paintings, sculptures, and manuscript illuminations-structured the ways flagellants envisioned historical and biblical events.He relies on Niklaus Largier's In Praise of the Whip, which is the leading study on flagellant confraternities, and argues that visual imagery, in its interactions with the nature and setting of confraternities, shaped individual experiences in a range of fascinating ways.He states that images meant different things to different people on various occasions and argues that confraternity members' performances before God, each other, and the spectators of public procession were shaped by the way they viewed artwork.The book is divided into two main parts.The first, consisting of five chapters, focuses on art and ritual in relation to setting and daily activities.Chapter 1 introduces the different topologies of art that confraternities commissioned, such as altarpieces, fresco decorations, crucifixes, banners, painted necrologies, and illuminated books.This chapter also introduces newly discovered evidence that in a mixed confraternity in Verona, women participated in flagellation.The evidence suggests that the hooded design of the habit used
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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 teacher head, 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".