Stefano Rosselli. Sepoltuario Fiorentino. 1657, p. 1013 [see Ref. Covi 1950-53], reports it as in the church of San Leo in Florence, and quotes its inscription.
Giuseppe Richa. Notizie istoriche delle chiese fiorentine. Vol. 4, Florence, 1756, pp. 151–52, mentions it as in the Brunelleschi chapel in the church of San Leo in Florence.
Léon Lagrange. "Exposition régionale des beaux-arts à Marseille." Gazette des beaux-arts 11 (November 1861), p. 436, mentions it in the Marseilles exhibition of 1861, and tentatively suggests Giottino as the artist.
Étienne Parrocel. Annales de la peinture. Paris, 1862, pp. 92–93, mentions it in the Marseilles exhibition of 1861 and tentatively suggests the names of Giotto and Simone Martini, without attributing it to either of them.
Marius Chaumelin. Les trésors d'art de la Provence exposés à Marseille en 1861. Paris, 1862, pp. 8–10, attributes it to Taddeo di Bartolo, comparing it with an altarpiece attributed to him in the Louvre.
Guido Carocci. Il mercato vecchio di Firenze. Florence, 1884, p. 66, mentions it among the works which disappeared from the church of San Leo in Florence and quotes its inscription.
Arnaldo Cocchi. Le chiese di Firenze dal secolo IV al secolo XX. Vol. 1, Quartiere di San Giovanni. Florence, 1903, p. 125, confuses it with another altarpiece in the church of San Leo in Florence, but quotes the correct inscription; includes a sketch of the church exterior as it appeared in fourteenth century.
Robert Lehman. The Philip Lehman Collection, New York: Paintings. Paris, 1928, unpaginated, pl. LVIII, attributes it to a Pisan master and identifies the standing saint on the extreme right as Philip rather than Julian.
Bernard Berenson. "Quadri senza casa: Il Trecento fiorentino, I." Dedalo 11 (1931), pp. 986–88, ill., notes analogies with Niccolò di Pietro Gerini in the faces of Christ and the Virgin but considers it part of the Orcagnesque tradition.
Mario Salmi. "Aggiunte al Tre e al Quattrocento fiorentino." Rivista d'arte 16 (1934), pp. 73–76, figs. 5 and 6, tentatively attributes it to Francesco di Michele, while also observing chracteristics of Agnolo Gaddi and Niccolò di Pietro Gerini within an Orcagnesque tradition.
Walter Paatz and Elisabeth Paatz. Die Kirchen von Florenz. Vol. 2, Frankfurt am Main, 1941, p. 460, lists it among the works that disappeared from the church of San Leo in Florence.
Dario Covi. "The Provenance and Donors of an Italian Altarpiece in the Metropolitan Museum of Art." Marsyas 6 (1950–53), pp. 58–69, pl. 19, identifies it as the painting in the Brunelleschi chapel in the church of San Leo in Florence, quotes contemporary documents and other writers before the suppression of the church, discusses the lives of the donors, explains the inscription, notes the influence of Taddeo Gaddi as pointed out by Richard Offner, and attributes the work to an eclectic painter of the Florentine school.
George Kaftal. Iconography of the Saints in Tuscan Painting. Florence, 1952, col. 929, no. 285c, fig. 1051 bis (detail of Saint Sylvester), erroneously as still in the Philip Lehman collection; tentatively attributes it to the Florentine school.
"Recent Accessions." Metropolitan Museum of Art Bulletin 10 (February 1952), p. 188, ill., attributes it to an unknown Pisan painter and erroneously suggests that it may have been painted by an artist working at the papal court in Avignon during the Great Schism (1378–1417); misidentifies the figure of Saint Julian as Saint Philip.
Dario Covi. "A XIV Century Italian Altarpiece." Metropolitan Museum of Art Bulletin 16 (January 1958), pp. 147–55, ill. (overall and details), based on an earlier article [Ref. Covi 1950–53], elaborates on the provenance of the painting and the lives of the donors.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 105, attributes it to Jacopo di Cione.
Federico Zeri. "Appunti sul Lindenau–Museum di Altenburg." Bollettino d'arte 49 (1964), p. 50, attributes it to an unknown artist, possibly of Spanish or Portuguese origin, who painted works in the Princeton University Museum, the Bestagini collection in Milan, and the Sanctuary of the Impruneta near Florence.
Guy-Philippe de Montebello. "Four Prophets by Lorenzo Monaco." Metropolitan Museum of Art Bulletin 25 (December 1966), p. 155, finds it stylistically related to the work of Orcagna and Agnolo Gaddi.
Bernard Berenson. Homeless Paintings of the Renaissance. Ed. Hanna Kiel. Bloomington, 1970, pp. 95, 247, pl. 143 [same text as Ref. Berenson 1931].
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. 49–52, ill., remark that the composition of the central panel derives from a polyptych by Giotto and his pupils in the Baroncelli chapel in the church of Santa Croce in Florence, note similarities to the work of Taddeo Gaddi, Jacopo di Cione, and the school of Agnolo Gaddi, and compare the painting to a group of panels by an unknown artist active in Florence in the 1390s [see Ref. Zeri 1964].
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 219, 308, 355, 363, 378, 421, 435, 450, 466, 534, 538, 608.
Miklòs Boskovits. Pittura fiorentina alla vigilia del Rinascimento, 1370–1400. Florence, 1975, pp. 132, 359, 361, pl. 139a, attributes it to the Master of the Madonna of 1399—the name given to the artist of a panel, dated 1399, of the Madonna and Child at Figline Valdarno and active in the late fourteenth and early fifteenth centuries—and suggests the possible identification of this artist as Giovanni di Tano Fei [Giuseppina Bacarelli confirms this identification in "Il 'Paradiso' in Pian di Ripoli: studi e ricerche su un antico monastero," Florence, 1985].
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Ed. Hayden B. J. Maginnis. supplement, A Legacy of Attributions. New York, 1981, p. 59, calls the artist the Metropolitan Master of 1394 and tentatively attributes to the same painter a Coronation of the Virgin (Bargello, Florence) and a fresco of the Last Judgment (Palazzo degli Spedalinghi, Prato).
George Bisacca and Laurence B. Kanter in Italian Renaissance Frames. Exh. cat., The Metropolitan Museum of Art. New York, 1990, pp. 16–17, figs. 8 and 9, describe its construction, providing a diagram of how the component pieces were put together.
Erling S. Skaug. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting. Oslo, 1994, vol. 1, pp. 270–71; vol. 2, punch chart 8.7, classifies it by punch marks and halo tooling with works attributed to the Master of 1394/1399 [see Ref. Boskovits 1975]
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, p. 237, classifies a punch mark appearing in this painting and attributes it to the Master of 1394.
Elena Merciai. "Il probabile Giovanni di Tano Fei: un'interprete bizzarro del gotico internazionale a Firenze." Arte cristiana 91 (March–April 2003), pp. 79–80, 88, 90–91 nn. 1, 6, 8, fig. 4, agrees that the Master of 1399 can probably be identified with Giovanni di Tano Fei and publishes a list of about thirty works that she attributes to this artist, including the MMA picture; attempts to reconstruct this artist's career.
Victor M. Schmidt. Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250–1400. Florence, 2005, pp. 110, 136 n. 9, points out that both the testator and executor (i.e., actual commissioner) are depicted on the predella [see inscription].
Lorenzo Sbaraglio in Fascino del bello: opere d'arte dalla collezione Terruzzi. Ed. Annalisa Scarpa and Michelangelo Lupo. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2007, p. 405, under no. I.9, relates the scalloped edge of Saint Julian's robe to those seen on several of the nymphs in "Allegory of Love," attributed to the Master of Charles of Durazzo, in the Terruzzi collection.
Angelo Tartuferi in Dalla tradizione gotica al primo Rinascimento. Florence, 2009, p. 98, fig. 2 on p. 101.
Angelo Tartuferi in Arte a Figline: dal Maestro della Maddalena a Masaccio. Ed. Angelo Tartuferi. Exh. cat., Palazzo Pretorio, Figline Valdarno. Florence, 2010, p. 134.