Louise Burroughs. "A Souvenir of Fountainebleau." Metropolitan Museum of Art Bulletin 1 (April 1943), pp. 251–53, ill., attributes our picture to a Flemish artist active at Fountainebleau in the last quarter of the 16th century; notes that it depicts, with slight variations, Rosso Fiorentino's design [the central part of which appears to have been carried out by Primaticcio] for a decorative panel in the Galerie François I; suggests that the direct source for our painting was a print by René Boyvin based on Rosso's plan and bearing the same inscription as our picture; mentions another painting after the Boyvin engraving in the Seillière collection in Paris in 1931; notes that the subject of the central medallion is the legend of the origin of the name of Fontainebleau [see Notes]
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 50–51, ill., attributes it to a Flemish painter active at Fountainebleau and dates it to the third quarter of the 16th century; observes that both this work and the Sellière painting derive from an engraving by René Boyvin after a Rosso composition; notes that a painting with this subject was in the sale of the Carleton Gates collection, New York, 1876, but from the description in the sale catalogue, it cannot be determined whether it was ours, the Sellière example, or a third version.
The School of Fountainebleau: An Exhibition of Paintings, Drawings, Engravings, Etchings and Sculpture, 1530–1619. Exh. cat., Fort Worth Art Center. Austin, Tex., 1965, pp. 58–59, note that our painting is derived from the print which is given here to Pierre Millan [or Milan]; call the Seillière version probably a copy of the original composition by Rosso.
Henri Zerner. The School of Fountainebleau, Etchings and Engravings. New York, 1969, foldout inside back cover, n. 7, observes that our painting and the Seillière version appear to be based on an engraving which he believes was begun by Pierre Milan and completed by Boyvin in 1554.
Henri Zerner in L'École de Fontainebleau. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1972, p. 325, suggests that the central motif is based on a sculpture without any apparent relationship to the Galerie François I or to Rosso, probably a relief destined to ornament the pedestal of a statue.
Ian Wardropper. "The Flowering of the French Renaissance." Metropolitan Museum of Art Bulletin 62 (Summer 2004), pp. 17–18, ill. (color).