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.
Oswald Sirén. "Pictures in America by Bernardo Daddi, Taddeo Gaddi, Andrea Orcagna and His Brothers: I." Art in America 2 (June 1914), p. 264, as in the collection of George Blumenthal, New York; identifies the subject as the Martyrdom of Saint Agatha, and attributes it to Bernardo Daddi.
Osvald Sirén. "Giuliano, Pietro and Giovanni da Rimini." Burlington Magazine 29 (October 1916), p. 281, as "The Martyrdom of S. Agatha"; tentatively suggests an attribution to Pietro da Rimini.
Osvald Sirén. Letter to George Blumenthal. February 20, 1916, states that it is not by Bernardo Daddi, but by a painter of the Giottesque school in the Romagna, possibly Giovanni Baronzio da Rimini; dates it about the middle of the fourteenth century.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 3, The Florentine School of the 14th Century. The Hague, 1924, p. 408 n. 1, as "the martyrdom of St. Agatha" by Daddi's school.
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. II, calls it the "The Martyrdom of Saint Agatha" by the School of Giotto, reporting that Perkins ascribes it to the Romagnole School of Giotto; illustrates it with the latter attribution
Helen Comstock. "The Bernardo Daddis in the United States—Part II." International Studio 89 (March 1928), pp. 75–76, calls it the "Martyrdom of St. Agatha," not by Daddi himself but very close to him.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, New York, 1930, p. 9, as the "Martyrdom of St. Agatha"; lists it among works attributed to Bernardo Daddi.
Luigi Serra in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 27, Leipzig, 1933, p. 27, as the Martyrdom of Saint Agatha; lists it among works attributed to Pietro da Rimini.
Mario Salmi. "Nota su Pietro da Rimini." Dedalo 13 (1933), p. 17 n. 8, as the Martyrdom of Saint Agatha; calls it a Florentine work derived from Daddi.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, New York, 1934, pp. 165–66, pl. LXII, as the "Martyrdom of St. Agatha"; attributes it to a remote follower of Daddi, observing its similarities to other panels from the same predella [see Notes]; dates it about 1345.
George Kaftal. Iconography of the Saints in Tuscan Painting. Florence, 1952, col. 892, fig. 1001, identifies the subject as Saint Reparata tortured with red-hot irons, and attributes it to a remote follower of Daddi.
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), this picture, Saint Reparata in a Furnace (Wallraf-Richartz-Museum, Cologne), Saint Reparata Being Prepared for Execution (MMA 43.98.4), 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, 29, 202, 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.
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 (43.98.3 and 43.98.4), 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.
Brigitte Klesse. Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Bern, 1967, p. 357, no. 305a, dates it about 1345, based on the patterned textile hanging from the loggia.
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].
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. 26–29, ill., 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, 71, 263, 277, 280, 283, 286, 386, pls. XIV (hypothetical reconstruction of polyptych), XV (reconstruction of predella), XV/4, 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.
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, 82, 349 nn. 63–64, 70.