Boyeldieu-d'Auvigny in Guide aux menus plaisirs—Salon de 1853. Paris, 1853, p. 42, likens it to Winterhalter's earlier "Decameron" (Staatliche Kunsthalle Karlsruhe).
Henri Delaborde. Le Salon de 1853. Paris, 1853 [reprinted in "Mélanges sur l'art contemporain," Henri Delaborde, ed., Paris, 1866, pp. 91–92], remarks that Winterhalter was inspired by Chassériau's "Tepidarium" (Musée de Louvre, Paris) and that this compares unfavorably with it.
E[tie]nne-J[ea]n Delécluze. "Exposition de 1853 (Quatrième article)." Journal des débats politiques et littéraires (June 25, 1853), p. 1.
Horsin Déon. Rapport sur le Salon de 1853. Paris, 1853, p. 16.
Théophile Gautier. "Salon de 1853 (Huitième article)." La Presse (July 6, 1853), p. 1.
Nadar [Félix Tournachon]. Nadar jury au Salon de 1853, album comique de 60 à 80 dessins coloriés; compte rendu d'environ 6 à 800 tableaux, sculptures, etc. Paris, 1853, unpaginated, no. 1198.
"Fine Arts." Albion 35 (May 30, 1857), p. 261, states that it is on view at Goupil's New York gallery as a means to sell engraved copies of the composition.
"Art Resources—Some Notices of Metropolitan Wealth—Art." Cosmopolitan Art Journal 1859 3 (March 1859), p. 86.
"City Intelligence." New York Times (March 18, 1859), p. 5, reports that this picture was the highlight of the March 17, 1859 sale of Goupil's collection, where it sold for $3,100 to Webb.
Franz Wild. The Nekrologe und Verzeichnisse der Gemälde von Franz & Hermann Winterhalter. Zürich, 1894 [reprinted in Richard Ormond and Carol Blackett-Ord, "Franz Xaver Winterhalter and the Courts of Europe," Washington, 1987, p. 237].
George H. Story. Catalogue of the Paintings in the Metropolitan Museum of Art. New York, 1904, p. 227, incorrectly states that the models for the figures of the women were the Empress Eugénie and her Maids of Honor.
Mabel Munson Swan. The Athenaeum Gallery, 1827–1873; The Boston Athenaeum as an Early Patron of Art. Boston, 1940, p. 288.
Harry B. Wehle. "Seventy-Five Years Ago." Metropolitan Museum of Art Bulletin 4 (April 1946), p. 210, ill.
Winslow Ames. Letter to Klaus Virch. March 3, 1965.
Winslow Ames. Prince Albert and Victorian Taste. New York, 1968, pp. 140, 209.
Leo Lerman. The Museum: One Hundred Years and the Metropolitan Museum of Art. New York, 1969, p. 156.
Robert F. Perkins Jr and William J. Gavin III. The Boston Athenaeum: Art Exhibition Index, 1827–1874. Boston, 1980, pp. 154, 227, list it as no. 240 in the 1864 exhibition, as no. 242 in the second edition, and as no. 333 in the third edition of the catalogue.
Carol Blackett-Ord and Richard Ormond. Franz Xaver Winterhalter and the Courts of Europe, 1830–70. Exh. cat., National Portrait Gallery. London, 1987, pp. 46, 61, 67, 195–96 (under cat. no. 38), 203, 237 (under no. 494), catalogues both this and the original version, discussing how Winterhalter took a fashionable literary theme and turned it into a fancy picture; remarks that the original version heralded his return to the Parisian art scene and the beginning of a triumphant phase of his career; calls the MMA painting the version that went to the Salon of 1853; comments that the theory that it was meant to represent the leading courtesans of the Second Empire in "thinly veiled disguise," as the erotic demi-monde, is false and that he used professional models; states that it foreshadows the setting in "Portrait of the Empress Eugénie surrounded by her Ladies-in-Waiting"; states that he painted what he saw and that he depicts fabrics with a virtuoso skill.
Oliver Millar. The Victorian Pictures in the Collection of Her Majesty the Queen. Cambridge, 1992, vol. 1, p. 322 (under no. 930).
Bates Lowry and Isabel Barrett Lowry. The Silver Canvas: Daugerrotype Masterpieces from the J. Paul Getty Museum. Exh. cat., J. Paul Getty Museum. Los Angeles, 1998, pp. 124, 222 n. 32, remarks that Queen Victoria's purchase of the original of this painting (Royal Collection, London) forced Winterhalter to paint this "second version" for exhibition at the Salon of 1853; notes that the English deplored its Frenchness as the French did its Englishness; states that it found no immediate buyer and was in the hands of Goupil, Paris in 1857 and that they commissioned an engraving of the work, from which a daguerreotype was made.