Thomas Bodkin. "Domenico Feti." Studies: An Irish Quarterly Review of Letters, Philosophy, and Sciences 12 (1923), pp. 612–13, pl. 5, as in the collection of Cavaliere L. de B. Spiridon, Rome; considers it the third version of four known paintings of the subject (the others can be found in the Royal Gallery, Dresden; collection of Baron Hadeln, Venice; and collection of Thomas Bodkin [the author]); points out that it is deemed "authentic by those best acquainted with Feti's work".
Hermann Voss. "Spätitalienische Gemälde in der Sammlung Dr. Fritz Haussmann in Berlin." Zeitschrift für bildende Kunst 65 (1931–32), p. 164.
Ella S. Siple. "Recent Acquisitions in America." Burlington Magazine 60 (1932), p. 110, pl. 1B.
F[rancis]. H[enry]. T[aylor]. "An Italian Baroque Painting." Bulletin of the Worcester Art Museum 25 (1934), pp. 18, 21, ill., compares it with Fetti's "Sowing of the Tares" in Worcester, and notes that "a feeling in the composition of the trees and the sombre grey of the background. . . seems to suggest already the mood of certain of Tiepolo's landscapes".
D. N. Casey. "A Painting by Domenico Feti." Bulletin of the Rhode Island School of Design 24 (October 1936), p. 14.
Frank Jewett Mather Jr. Venetian Painters. New York, 1936, pp. 434–35, ill., finds it equal in quality to Fetti's "Lost Sheep" and "The Blind Leading the Blind" in Dresden; describes the landscape elements as "forms which in their fantastic richness recall his exemplar Elsheimer".
Wart Arslan. "Il nuovo Museo di Bolzano." Archivio per l'Alto Adige 32 (1937), p. 495, compares it with the version in Bolzano and mentions other versions.
Wart Arslan. "Nuovi dipinti nel Museo dell'Alto Adige." Archivio per l'Alto Adige 33 (1938), p. 671 n. 2, lists the extant versions of the picture.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 256, ill., lists several replicas of the subject.
N. S. Trivas. "Italian Baroque Painting in San Francisco." Apollo 34 (July–December 1941), p. 44.
Gems of Baroque Painting. Exh. cat., Schaeffer Galleries. New York, 1942, under no. 14.
R[odolfo]. P[allucchini]. "Una mostra del Fetti a New York." Arte veneta 4 (1950), p. 184.
Edoardo Arslan. "Cinque disegni veneti. . ." Arte veneta 8 (1954), pp. 290–91 n. 2, calls our picture certainly autograph.
Paola Michelini. "Domenico Fetti a Venezia." Arte veneta 9 (1955), p. 134.
Rudolf Wittkower. Art and Architecture in Italy, 1600 to 1750. Baltimore, 1958, p. 66, pl. 33, dates it after Fetti's arrival in Venice in 1622.
The Seventeenth Century Pictures by European Masters. Exh. cat., Thomas Agnew & Sons, Ltd. London, 1960, p. 8.
Pamela Askew. "The Parable Paintings of Domenico Fetti." Art Bulletin 43 (March 1961), pp. 24, 37–38, 43–44, fig. 18, believes all of Fetti's parable paintings date after 1618 and notes that this parable exists in more versions than any of the others; comments that with this parable "Fetti continues the tradition of monumental North Italian landscape painting"; considers our picture the third version, noting that the artist has shifted to a vertical format from the horizontal formats of the previous versions in Dresden and Boston; provides a catalogue raisonné of the other known versions except those in Bolzano and the Courtauld, London.
Carlo Donzelli and Giuseppe Maria Pilo. I pittori del Seicento veneto. Florence, 1967, pp. 175–76.
Jürgen M. Lehmann. "Domenico Fetti: Leben und Werk des römischen Malers." PhD diss., Johann-Wolfgag-Goethe-Universität, Frankfurt, 1967, pp. 115–16, 166, 214–15, 219, 220, 225, 240, 246, no. 80, considers our picture the best preserved of this subject; discusses various versions and the related drawing (Louvre, Paris), calls the Venice, Dresden, and New York versions autograph, but suggests that the figures in our picture may be by Fetti's studio; dates the Venice version around 1617, the Dresden and New York versions around 1622, and suggests that either the New York or Venice painting may be identical with no. 596 in the inventory of the Mantuan ducal collection of 1627 (see A. Luzio, "La Galleria dei Gonzaga venduta all'Inghilterra nel 1627–28," 1913, p. 130).
Michael Levey. "The Seventeenth and Eighteenth Centuries." 20,000 Years of World Painting. New York, 1967, p. 31, ill.
Federico Zeri and Elizabeth E. Gardner. Unpublished manuscript. [ca. 1970–80], state that there are at least eleven extant versions of this parable, some by the artist and other "studio versions"; note that the "high quality" of our picture "excludes the intervention of helpers beside the master's own hand"; place it after originals in Dresden and Boston, suggesting "its date must fall not far from the painter's last months".
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 70, 279, 607, as by Fetti.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 298, 302, fig. 536 (color), dates it to Fetti's time in Venice, 1622–23.
Rodolfo Pallucchini. La pittura veneziana del Seicento. [Venice], 1981, vol. 1, p. 138, calls it a distillation of the composition worked out in the Dresden and Boston versions, moving away from Elsheimer's influence and towards Veronese.
Eduard A. Safarik with the collaboration of Gabriello Milantoni in Fetti. Milan, 1990, pp. 102, 105, no. 25i, fig. 25i, disagrees with Askew and Lehmann that it is the third autograph version of the subject and catalogues it as a copy ("certainly not by the hand of Fetti"); describes it as a "free exercise" ("libera esercitazione") from which four additional copies were made, thereby suggesting that it might be understood as more than a copy of the Dresden original.