Giorgio Vasari. Le vite de' più eccellenti pittori, scultori, ed architettori. Ed. Gaetano Milanesi. 1906 ed. Florence, 1568, vol 1, p. 639, mentions among the works of Agnolo Gaddi a painting for the high altar of San Brancazio [sic] with a predella composed of eight stories of the Madonna and Saint Reparata which may have included this work.
Richard Offner. Letter. October 13, 1926, attributes it to Bernardo Daddi.
Helen Comstock. "The Bernardo Daddis in the United States—Part II." International Studio 89 (March 1928), pp. 73–75, ill., accepts Offner's [see Ref. 1926] attribution to Daddi, and calls it "The Martyrdom of St. Barbara"; considers it part of a predella that included panels now in the MMA (43.98.3) and the Pechère collection, Brussels.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, New York, 1930, pp. 10, 62, 64, 66, 90, pls. XV (partial reconstruction), XV¹, calls it "Episode from the Martyrdom of a Female Saint"; attributes the predella to Bernardo Daddi and partially reconstructs it with the three works grouped by Comstock [see Ref. 1928].
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. XXXVIII, connects it to the other panel from the Griggs collection (MMA 43.98.3), referring to the two pictures as the Condemnation and Martyrdom of Saint Barbara; says the predella represents Daddi's final style, and dates it 1330s.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 239, as "Scene from Legend of Barbara"; attributes it to an anonymous Florentine working after 1350, a close follower of Giovanni da Milano.
Lionello Venturi. Italian Paintings in America. Vol. 1, Romanesque and Gothic. New York, 1933, unpaginated, pl. 47, accepts Offner's reconstruction [see Ref. 1930]; refers to it and the other panel from the Griggs collection (MMA 43.98.3) as the "Condemnation and Martyrdom of St. Barbara"; says the predella represents Daddi's final style, and dates it 1330s.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, New York, 1934, p. 165, observes similarities in the scene of Saint Reparata Tortured with Red-hot Irons then in the Blumenthal collection (MMA 41.190.15).
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 205.
Mostra Giottesca. Exh. cat., Palazzo degli Uffizi. Bergamo, 1937, p. 57, no. 163A, pl. 97, call it the Martyrdom of Saint Catherine by Daddi, and cite Offner's reconstruction [see Ref. 1930].
Mario Salmi. "La mostra Giottesca." Emporium 86 (July 1937), p. 363.
Alfred M. Frankfurter. "The Maitland F. Griggs Collection." Art News 35 (May 1, 1937), p. 30, calls it "Martyrdom of a Female Saint," and places the predella in the last phase of Daddi's career.
Giulia Sinibaldi and Giulia Brunetti, ed. Pittura italiana del duecento e trecento: Catalogo della mostra giottesca di Firenze del 1937. Exh. cat., Galleria degli Uffizi. Florence, 1943, pp. 505–7, no.161, ill., call it the Martyrdom of Saint Catherine, but note that some identify the saint as Barbara.
Klara Steinweg. "Contributo a due predelle di B. Daddi." Rivista d'arte 33 (1956), pp. 37–40, fig. 7 (reconstruction), attributes it to Daddi and identifies the saint as Reparata, citing the opinion of Ulrich Middeldorf; reconstructs the original predella to include, from left to right, Saint Reparata before the Emperor Decius (MMA 43.98.3), Saint Reparata in Prison (Pechère collection, Brussels), Saint Reparata Tortured with Red-hot Irons (MMA 41.190.15), Saint Reparata in a Furnace (Wallraf-Richartz-Museum, Cologne), this picture, and the Beheading of Saint Reparata (formerly Prince Borghese collection, Rome, present location unknown); suggests the predella belonged to a five-panel polyptych probably painted for the church of Santa Reparata in Florence, demolished in 1375.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 8, section 3, New York, 1958, pp. X, XIV–XV, XVII–XVIII, XX, 29, 202, 223, pl. VI (reconstruction), accepts the reconstruction and provenance suggested by Steinweg [see Ref. 1956] and dates the predella about 1345.
Ugo Procacci. "Recensioni." Rivista d'arte 8 (1958), p. 135.
Giovanni Paccagnini in Encyclopedia of World Art. Vol. 4, New York, 1961, col. 225 [Italian ed., 1958, col. 183], calls it the story of Saint Catherine or Saint Barbara and places it in Daddi's later period.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, pp. 52, 56, lists it, along with the other two MMA scenes of Saint Reparata (41.190.15 and 43.98.3), as by Daddi, connecting them with the other panels of the predella.
Brigitte Klesse. Italienische Gemälde der Gotik und Frührenaissance im Wallraf-Richartz-Museum. Cologne, 1964, pp. 7–8, follows Steinweg [see Ref. 1956] on the reconstruction and provenance of the predella.
Alessandro Conti. "Quadri alluvionati 1333, 1557, 1966 (II)." Paragone 19 (September 1968), pp. 4, 21 n. 7, identifies the predella as belonging to the altarpiece for the church of San Pancrazio, Florence, mentioned by Vasari [see Ref. 1568].
Ferdinando Bologna. Novità su Giotto. Turin, 1969, p. 15 n. 7, erroneously as still in the Griggs collection; attributes it to Daddi, accepting the connection with the panel now in the Pechère collection, Brussels; states that it is not certain that the saint is either Catherine of Alexandria or Barbara.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 26–27, 29, ill. p. 28, identify the saint as Reparata; attribute the predella to Daddi, placing it in his late period, about the mid-1340s, and state that it belonged to an unidentified altarpiece.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 62, 446, 608.
Arno Preiser. Das Entstehen und die Entwicklung der Predella in der italienischen Malerei. PhD diss., Julius-Maximilians-Universität, Würzburg. Hildesheim, 1973, pp. 325–26, accepts Conti's identification of the predella [see Ref. 1968] and suggests that it is missing two panels that probably showed scenes from the life of Saint Reparata, rather than her martyrdom.
Brigitte Klesse. Kataloge des Wallraf-Richartz-Museums. Vol. 6, Katalog der italienischen, französischen und spanischen Gemälde bis 1800 im Wallraf-Richartz-Museum. Cologne, 1973, pp. 43–44, under no. 878.
Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 9, section 3, The Fourteenth Century: The Painters of the Miniaturist Tendency. new ed. Florence, 1984, p. 74, cites Ref. Conti 1968.
Wolfgang Fritz Volbach. Catalogo della Pinacoteca Vaticana. Vol. 2, Il Trecento: Firenze e Siena. Vatican City, 1987, p. 28, erroneously as in the Galleria degli Uffizi, Florence.
Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, The Fourteenth Century: The Works of Bernardo Daddi. new ed. Florence, 1989, pp. 22, 263, 277, 280, 283, 286 n. 1, pp. 290, 386, pls. XIV (hypothetical reconstruction of polyptych), XV (reconstruction of predella), XV/6, considers it likely that the predella originally belonged to the polyptych painted by Daddi for the church of San Pancrazio, Florence (later dismembered, now in the Galleria Degli Uffizi), and believes it must have included two more scenes now missing.
Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, The Fourteenth Century: Bernardo Daddi, His Shop and Following. new ed. Florence, 1991, pp. 332, 463, 510.
Nicholas H. J. Hall, ed. Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. New York, 1992, p. 131.
Anna Padoa Rizzo. "Bernardo di Stefano Rosselli, il 'polittico Rucellai' e il polittico di San Pancrazio di Bernardo Daddi." Studi di storia dell'arte 4 (1993), p. 214, argues that the polyptych recorded by Vasari [see Ref. 1568] was painted by Daddi for the high altar of the cathedral of Florence, and later moved to the church of San Prancrazio by 1568.
Enrica Neri Lusanna in The Dictionary of Art. Ed. Jane Turner. Vol. 8, New York, 1996, p. 443, mentions the predella as one of two that Vasari assigned to an altarpiece painted by Daddi for Florence Cathedral and later in the church of San Pancrazio.
Lisa Monnas. Merchants, Princes and Painters: Silk Fabrics in Italian and Northern Paintings, 1300–1550. New Haven, 2008, pp. 80, 349 nn. 63–64.