J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. Storia della pittura in Italia. Vol. 4, 2nd ed. Florence, 1900, p. 23, mention as in the sacristy of the church of San Niccolò, Fabriano, a Crucifixion with a gold background and narrative scenes on the sides that they date to the middle of the 14th century [identified by Ref. Zampetti and Donnini 1992 as the altarpiece to which this panel belonged].
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 400, lists this picture and its two companions (69.280.1, 69.280.3) as three legendary scenes, in the collection of Mrs. W. Murray Crane, New York, and as in great part by Allegretto Nuzi.
Lionello Venturi. Italian Paintings in America. Vol. 1, Romanesque and Gothic. New York, 1933, unpaginated, pl. 111, attributes the three scenes to Allegretto Nuzi and identifies them as depicting legends of Saint John the Evangelist; as formerly in the baron Fassini collection, Rome, and the Eugenio Ventura collection, Florence; connects them with four scenes he saw in Rome (now North Carolina Museum of Art, Raleigh, and Portland Art Museum, Portland, Oregon) and proposes a reconstruction of the original polyptych.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 344.
Federico Zeri. "Note su quadri italiani all'estero." Bollettino d'arte 34 (January–March 1949), pp. 21–22, fig. 5 (reconstruction of altarpiece), accepts Venturi's [see Ref. 1933] connection with the Raleigh and Portland panels and identifies a Crucifixion in the Art Institute of Chicago as the center of the altarpiece; proposes a reconstruction with the Crucifixion flanked on either side by four narrative scenes, the arched scenes above those without arches, one of which is lost; dates the work to Nuzi's late period.
George Kaftal. Iconography of the Saints in Central and South Italian Schools of Painting. Florence, 1965, cols. 620, 624, fig. 726, attributes the seven narrative scenes to Nuzi.
Fern Rusk Shapley. Paintings from the Samuel H. Kress Collection. Vol. 1, Italian Schools: XIII–XV Century. London, 1966, p. 76, under nos. K205A–D, accepts Zeri's [see Ref. 1949] reconstruction of the altarpiece and attributes it to Nuzi; dates it about 1370.
Luisa Vertova. "'What Goes with What?'." Burlington Magazine 109 (December 1967), p. 671.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, pp. 302, 304; vol. 2, pl. 212, connects the three MMA panels with the Chicago, Portland, and Raleigh pictures; calls the altarpiece a late work; attributes the Chicago painting to Nuzi's workshop and the narrative scenes in great part to the artist himself.
Federico Zeri. "Un'ipotesi sui rapporti tra Allegretto Nuzi e Francescuccio Ghissi." Antichità viva 14 (September–October 1975), p. 6, attributes the design of the altarpiece to Nuzi and its execution to Francescuccio Ghissi.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, pp. 17–19, pl. 24, attribute the altarpiece to Ghissi, probably based on designs by Nuzi; tentatively date it to the early 1370s; follow the reconstruction proposed in Ref. Zeri 1949 except for switching the lower near left and lower near right panels; suggest that the missing eighth scene may have depicted either the baptism of the high priest Aristodemus or the funeral of Saint John.
Keith Christiansen. "Fourteenth-Century Italian Altarpieces." Metropolitan Museum of Art Bulletin 40 (Summer 1982), pp. 46, 48–49, figs. 42 (color), 45 (reconstruction), attributes the altarpiece to Ghissi and accepts Zeri's [see Ref. 1980] reconstruction; identifies the figures in the spandrels as Saint John in the cauldron of boiling oil (second from left), Saint Francis (second from right), and Saint Louis of Toulouse (far right).
Pietro Zampetti and Giampiero Donnini. Gentile e i pittori di Fabriano. Florence, 1992, pp. 24, 28 n. 31, pl. 48, attribute the altarpiece to Ghissi; identify it with a work mentioned in Ref. Crowe and Cavalcaselle 1900 as in the church of San Niccolò, Fabriano.
Christopher Lloyd. Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection. Chicago, 1993, pp. 108–10, fig. 1 (reconstruction), based on the female donor kneeling at the foot of the cross in the Chicago "Crucifixion," suggests that the altarpiece was painted for a local Dominican church or monastery in the Marches.
Joan Isobel Friedman in The Dictionary of Art. Ed. Jane Turner. Vol. 23, New York, 1996, pp. 323–24, attributes the altarpiece to Nuzi.
Giampiero Donnini. "A proposito di Francescuccio Ghissi." Arte cristiana 84 (January–February 1996), pp. 13–14, 16, attributes the altarpiece to Ghissi.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 294, 480, attributes the altarpiece to Ghissi; classifies the punch marks appearing in this painting.
Alessandra Olivetti in Le Marche disperse: repertorio di opere d'arte dalle Marche al mondo. Ed. Costanza Costanzi. Cinisello Balsamo, Milan, 2005, p. 119, under no. 47.