Roger E. Fry. Letter to Bryson Burroughs. December 14, 1908, tentatively ascribes it to a Romagnole artist and calls it Giottesque; relates it to panels in Munich.
Roger E. Fry. Letter to Bryson Burroughs. February 16, 1909 [published in "Letters of Roger Fry," ed. Denys Sutton, 1972, vol. 1, p. 313].
Osvald Sirén. "Giuliano, Pietro and Giovanni da Rimini (conclusion)." Burlington Magazine 29 (November 1916), p. 320, tentatively attributes it to Baronzio, along with six panels in the Accademia, Venice, while noting that they are not well preserved; also ascribes to Baronzio an Adoration of the Magi (Sir Hubert Parry, Highnam Court), two panels in Munich ("The Virgin, the Washing of Feet, and the Last Judgment" and "The Crucifixion, the Way to Golgotha, and the Sigmatization of Saint Francis"; nos. 979, 980), a Crucifixion (Pinacoteca Vaticana), and a dismembered altarpiece, the center panel of which is a seated Saint John the Baptist (Christ Church Library, Oxford)
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 4, Local Schools of North Italy of the 14th Century. The Hague, 1924, pp. 341–42, 351, fig. 180, ascribes it to a Riminese artist influenced by Cavallini and Baronzio, noting Giottesque influence in the composition of the Pentecost, and mentioning that the scene of the Last Judgment resembles one of the same subject in a panel in the Palazzo Venezia, Rome.
Evelyn Sandberg-Vavalà. La croce dipinta italiana. Verona, 1929, pp. 186, 402–3, no. 47, pp. 450–51, no. 52, pp. 462–63, no. 77, pp. 472–73, no. 63, pp. 496–97, no. 53, calls it Riminese, 14th century, and analyzes the iconography.
Roger Fry. "Notes on the Italian Exhibition at Burlington House—I." Burlington Magazine 56 (February 1930), p. 77, tentatively attributes to Baronzio this work, the Munich panels, and the Vatican Crucifixion, assigning the Parry/Highnam panel to a close follower or pupil.
L[uigi]. Se[rra]. in Enciclopedia italiana di scienze, lettere ed arti. Vol. 6, [Rome], 1930, p. 228, lists it among works attributed to Baronzio but by followers or imitators.
Cesare Brandi. Mostra della pittura riminese del trecento. Exh. cat., Palazzo dell'Arrengo. [Rimini], 1935, pp. XXIX, 64, under no. 22, fig. 138, attributes it to an unknown Riminese painter of the 14th century, grouping it with the panels at Venice, Highnam Court, and the Vatican, and five scenes in the Kaiser Friedrich Museum, Berlin (no. 1110; now Gemäldegalerie, Berlin).
Cesare Brandi. "Conclusioni su alcuni discussi problemi della pittura riminese del Trecento." Critica d'arte 1 (1935–36), p. 236, agrees with Salmi [see Ref. 1935] in attributing this picture and the others in the group to the Master of the Parry Nativity.
Mario Salmi. "La scuola di Rimini, III." Rivista del R. Istituto d'Archeologia e Storia dell'Arte 5, nos. 1–2 (1935), pp. 108, 124 n. 12, calls it very close in style to pictures attributed to the Master of the Parry Nativity.
Mario Salmi. Letter. March 15, 1936.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 84–85, ill. (detail), attributes it to an unknown Riminese painter and dates it to the middle of the fourteenth century.
Alba Medea. "L'iconografia della scuola di Rimini." Rivista d'arte 22 (1940), p. 37, calls it Riminese, fourteenth century.
Pietro Toesca. Il Trecento. Turin, 1951, p. 729 n. 256, attributes it to Baronzio.
Alberto Martini. "Ricostruzione parziale di un dossale riminese." Paragone 9 (March 1958), p. 45 n. 11, tentatively attributes it to the same hand as the scenes from the life of Saint Colomba formerly in the Sessa collection (now Pinacoteca di Brera, Milan), calling the artist the Master of Saint Colomba.
E[llis]. K. Waterhouse. "Some Notes on William Young Ottley's Collection of Italian Primitives." Italian Studies Presented to E. R. Vincent. Cambridge, 1962, pp. 277, 279, gives name of buyer (Bromley) and price (15 gns.) at Ottley sale of 1847 and name of buyer (Farquhar) at Davenport-Bromley sale of 1863.
Maurizio Bonicatti. Trecentisti riminesi: sulla formazione della pittura riminese del '300. Rome, 1963, p. 81.
C[arla]. Guglielmi Faldi in Dizionario biografico degli italiani. Vol. 6, Rome, 1964, p. 484, hesitates in attributing it to Baronzio.
Carlo Volpe. La pittura riminese del Trecento. Milan, 1965, pp. 39, 42–43, 81–83, 86, no. 77, fig. 205, ascribes it to Baronzio; identifies it as the wing of a diptych.
The Gambier-Parry Collection. Provisional catalogue. London, 1967, pp. 36–37, under no. 117, lists it among works ascribed to the Master of the Gambier-Parry Nativity.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 357, lists it among anonymous Riminese Trecento paintings; calls it a dossal.
S[erena]. Padovani in Dizionario enciclopedico Bolaffi dei pittori e degli incisori italiani. Vol. 1, Turin, 1972, p. 362, lists it among works that have been ascribed to Baronzio.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 236, 294–95, 298–99, 306, 309, 361, 364, 463, 606.
General Catalogue of the Courtauld Institute Galleries. reprint (1st ed., 1960). London, 1974, unpaginated, under no. 1.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, pp. 78–79, pl. 2, attribute it to an artist in the circle of Baronzio and date it to the mid-1340s; note that the compositions of several of the scenes are based on Giotto's frescoes in the Arena Chapel in Padua, although the Last Judgment probably depends from a thirteenth-century work; suggest that it may have been the right wing of a diptych.
Andrea Bacchi in La pittura in Italia: il Duecento e il Trecento. Ed. Enrico Castelnuovo. revised and expanded ed. Milan, 1986, vol. 2, p. 555, attributes it to Baronzio.
Miklós Boskovits. Gemäldegalerie Berlin, Katalog der Gemälde: frühe italienische Malerei. Ed. Erich Schleier. Berlin, 1987, p. 16, under no. 8, as by Baronzio.
Pier Giorgio Pasini. La pittura riminese del Trecento. Rimini, , pp. 138–39, ill., attributes it to Giovanni Baronzio, but notes that the attribution has vacillated in the past, perhaps due to the condition problems of the panel; notes the references to Giotto's frescoes in the Arena Chapel.
Miklòs Boskovits. "Per la storia della pittura tra la Romagna e le Marche ai primi del '300 – II." Arte Cristiana 81 (May–June 1993), p. 179 n. 69, remarks that the poor state of conservation makes dating difficult.
Francesco Rossi. Catalogo della Pinacoteca Vaticana. Vol. 3, Il Trecento: Umbria - Marche, Italia del nord. Vatican City, 1994, p. 122, under no. 35, as by Baronzio.
Daniele Benati in Il Trecento riminese: maestri e botteghe tra Romagna e Marche. Ed. Daniele Benati. Exh. cat., Museo della Città, Rimini. Milan, 1995, pp. 54, 272, no. 54, ill. p. 273 (color), attributes it to Baronzio and dates it about 1340–45.
Enrica Neri Lusanna in Gold Backs, 1250–1480. Exh. cat., Matthiesen Fine Art. London, 1996, p. 42, under no. 2, as by Baronzio; calls it a shutter panel.
Carl Brandon Strehlke. Italian Paintings 1250–1450 in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004, p. 452 n. 3, lists it among examples of small early fourteenth-century Riminese altarpieces depicting scenes from the life of Christ in a vertical format.
Daniele Ferrara in Giovanni Baronzio e la pittura a Rimini nel Trecento. Ed. Daniele Ferrara. Exh. cat., Palazzo Barberini, Rome. Cinisello Balsamo, Milan, 2008, p. 113, under no. 11, as by Baronzio.