Ettore Romagnoli. Biografia cronologica de' bellartisti senesi, 1200–1800. 2, Florence, [ca. 1830], p. 256/2, as in the collection of Professore Rosini; attributes it to Ambrogio Lorenzetti.
Giovanni Rosini. Storia della pittura italiana esposta coi monumenti. 2, Pisa, 1840, pp. 257, 261 n. 23 [2nd ed., vol. 3, 1850, p. 41 n. 32, ill. opp. p. 36], attributes it tentatively to the brother of Fra Angelico, noting that Romagnoli [see Ref. 1830] ascribed it to Ambrogio Lorenzetti; mentions that there is a predella panel of the same composition in Paris, attributed to Gentile da Fabriano in the catalogue of the museum.
F. Mason Perkins. "Some Sienese Paintings in American Collections: Part Four." Art in America 9 (February 1921), pp. 45–46, fig. 1, as in the Blumenthal collection, New York; attributes it to Giovanni di Paolo and dates it to the first half of his career; notes the influence of Sassetta, and states that the composition is based on Ambrogio Lorenzetti's altarpiece of the Presentation (Uffizi, Florence); lists two other works by Giovanni of the same subject (Pinacoteca nazionale, Siena, no. 211; and church of the Conservatorio di S. Pietro at Colle di Val d'Elsa).
Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. XXVI.
Raimond van Marle. "Late Gothic Painting in Tuscany." The Development of the Italian Schools of Painting. 9, The Hague, 1927, p. 422, dates it about 1445.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CXXVIII.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 246, as "Circumcision"; calls it an early work.
Marialuisa Gengaro. "Eclettismo e arte nel Quattrocento senese." La Diana 7 (1932), pp. 15, 29, pl. 7, notes its dependence on Gentile da Fabriano's predella panel (Louvre, Paris) of the same subject from his altarpiece of the Adoration of the Magi (Uffizi, Florence).
Lionello Venturi. "Romanesque and Gothic." Italian Paintings in America. 1, New York, 1933, unpaginated, pl. 156.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 212.
John Pope-Hennessy. Giovanni di Paolo, 1403–1483. London, 1937, pp. 37–40, 54 n. 92, p. 173, identifies it as part of the same predella as the "Expulsion of Adam and Eve and the Annunciation" (National Gallery of Art, Washington; 1939.1.223), the "Nativity" (Pinacoteca Vaticana, Rome), and the "Crucifixion" (SMPK, Berlin); calls it "a straightforward copy" of Gentile's panel in the Louvre; dates the series shortly before 1445.
Cesare Brandi. "Giovanni di Paolo." Le arti 3 (April–May 1941), p. 243 n. 32, p. 245 n. 36, accepts Pope-Hennessy's [see Ref. 1937] identification of the four panels of the predella, and erroneously describes the MMA panel as 6 cm shorter than the others.
Henry Sayles Francis. "A New Giovanni di Paolo." Art Quarterly 5 (1942), pp. 317–18, 322, fig. 3, adds the "Adoration of the Magi" (Cleveland Museum of Art) as the fifth panel of the predella.
Henry S. Francis. "An 'Adoration of the Magi' by Giovanni di Paolo." Bulletin of the Cleveland Museum of Art 29 (December 1942), pp. 166–67.
Harry B. Wehle. "The Presentation in the Temple by Giovanni di Paolo." Metropolitan Museum of Art Bulletin 3 (April 1945), pp. 185–88, ill. on cover (color).
Cesare Brandi. Giovanni di Paolo. Florence, 1947, pp. 72–74 nn. 32, 36, p. 120 [similar text to Ref. Brandi 1941], accepts Francis's [see Ref. 1942] addition of the fifth panel of the predella.
Cesare Brandi. Quattrocentisti senesi. Milan, 1949, p. 260, dates the predella about 1445.
Fern Rusk Shapley. "Italian Schools: XIII–XV Century." Paintings from the Samuel H. Kress Collection. 1, London, 1966, p. 148, under no. K412, accepts the identifications of the five panels of the predella, and the dating of about 1445.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, pp. 175–76, 178, 180, 182.
Carol Herselle Krinsky. "Representations of the Temple of Jerusalem before 1500." Journal of the Warburg and Courtauld Institutes 33 (1970), p. 10, pl. 2C.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 90, 274, 607.
Elizabeth Ourusoff De Fernandez-Gimenez in "European Paintings Before 1500." The Cleveland Museum of Art: Catalogue of Paintings. part 1, Cleveland, 1974, pp. 103–4.
Robert Oertel and Hans-Joachim Eberhardt in Catalogue of Paintings, 13th–18th Century. 2nd, rev. ed. Berlin-Dahlem, 1978, p. 180, under no. 1112C [German ed., 1975, p. 174], date the predella about 1440–45.
Denys Sutton. "Robert Langton Douglas, Part III, XV: The War Years." Apollo 109 (June 1979), p. 436, fig. 19.
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. 27–28, pl. 45, question the inclusion of the Crucifixion in Berlin as part of the predella; date the series about 1440.
John Pope-Hennessy. "Giovanni di Paolo." Metropolitan Museum of Art Bulletin 46 (Fall 1988), pp. 11, 13, fig. 9 (color), dates the five panels about 1440, and suggests that they may have formed the predella of an altarpiece commissioned from Giovanni di Paolo for the Spedale della Scala in 1440.
Carl Brandon Strehlke in Painting in Renaissance Siena: 1420–1500. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 189–91, no. 31, ill. (overall and in reconstruction of predella), accepts the inclusion of the Berlin Crucifixion as part of the predella; dates the series to the early 1440s, and definitely before 1445.
Andrea De Marchi. Gentile da Fabriano: Un viaggio nella pittura italiana alla fine del gotico. Milan, 1992, p. 190 n. 83, p. 211 nn. 33–34.
Andrew Ladis. "Sources and Resources: The Lost Sketchbooks of Giovanni di Paolo." The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop. Athens, Ga., 1995, pp. 59, 67, 83 n. 19, fig. 21.
Miklós Boskovits in Italian Paintings of the Fifteenth Century. Washington, 2003, pp. 326, 328, 330 nn. 19, 21, 24, p. 331 n. 38, fig. 1 (reconstruction), proposes that the predella of which this is one panel belongs with a set of elements (Saints Catherine and John the Baptist in the Museum of Fine Arts, Houston; Madonna and Child in the Banca Monte dei Paschi, Siena; Saints Matthew and Francis in the MMA) that is sometimes identified with the Fondi altarpiece in San Francesco in Siena; dates the entire assembly about 1435.
Alessandro Marchi in Gentile da Fabriano and the Other Renaissance. Exh. cat., Spedale di Santa Maria del Buon Gesù, Fabriano. Milan, 2006, p. 300 [Italian ed., "Gentile da Fabriano e l'altro Rinascimento"].
Dóra Sallay in Da Jacopo della Quercia a Donatello: le arti a Siena nel primo rinascimento. Exh. cat., Santa Maria della Scala et al., Siena. Milan, 2010, pp. 214, 216, no. C.14, ill. pp. 214 (reconstruction), 217 (color).
Andrea De Marchi. La pala d'altare dal polittico alla pala quadra. Florence, 2012, pp. 101–2, accepts Sallay's reconstruction, suggesting that rather than a relic, a grill occupied a space beneath the Virgin and Child in the center panel.
Emanuele Zappasodi. "Ambrogio Lorenzetti 'huomo di grande ingegno': un polittico fuori canone e due tavole dimenticate." Nuovi studi 20 (2014), pp. ?, ill. (color, altarpiece reconstruction), accepts the reconstruction of Sallay.