Giorgio Vasari. Le vite de' più eccellenti pittori, scultori, ed architettori. Ed. Gaetano Milanesi. 1906 ed. Florence, 1568, vol. 3, p. 37, records four panels with small figures of Saints Peter, Paul, Zenobius, and Benedict in the Alessandri chapel in the church of San Pier Maggiore, Florence, and attributes them to Pesello.
Francesco Bocchi. Le bellezze della città di Firenze. Florence, 1677, p. 357, records a painting by Pesello in the Alessandri chapel of San Pier Maggiore.
Giuseppe Richa. Notizie istoriche delle chiese fiorentine. Vol. 1, Del quartiere di Santa Croce. Florence, 1754, pp. 142–43, as in the Alessandri chapel of San Pier Maggiore; attributes them to Pesello.
Vincenzo Follini and Modesto Rastrelli. Firenze antica e moderna illustrata. Vol. 5, reprint, 1975. Florence, 1794, p. 92, mentions a painting by Pesello formerly in the Alessandri chapel of San Pier Maggiore.
J. A. Crowe and G. B. Cavalcaselle. A History of Painting in Italy from the Second to the Fourteenth Century. Vol. 2, London, 1864, p. 365, find them more akin to the work of Benozzo Gozzoli than to that of the Peselli; note that they are in the Casa Alessandri, Borgo degli Albizzi.
Ivan Lermolieff [Giovanni Morelli]. Kunstkritische Studien über italienische Malerei. Vol. 1, Die Galerien Borghese und Doria Panfili in Rom. Leipzig, 1890, pp. 335–36 [Italian ed., Milan, 1897, p. 258; English ed., London, 1900, p. 256], mentions three of the panels (MMA 15.106.1–3) and attributes them to Pesellino.
Costanza Jocelyn Ffoulkes. "Le esposizioni d'arte italiana a Londra." Archivio storico dell'arte 7 (1894), p. 158, accepts the attribution to Gozzoli.
J[ean]. P[aul]. Richter. "Die Ausstellung italienischer Renaissancewerke in der New Gallery in London." Repertorium für Kunstwissenschaft 17 (1894), p. 240, rejects Morelli's [see Ref. 1890] attribution to Pesellino and calls them early works by Gozzoli.
Bernhard Berenson. The Florentine Painters of the Renaissance. New York, 1896, p. 103, lists them as early works by Gozzoli.
Hans Mackowsky. "Die Verkündigung und die Verlobung der Heiligen Katharina von Francesco Pesellino." Zeitschrift für bildende Kunst, n.s., 10 (1898–99), p. 83, identifies them with the pictures mentioned by Vasari [see Ref. 1568] and Richa [see Ref. 1754] but calls them copies after lost originals by Pesellino.
Werner Weisbach. Francesco Pesellino und die Romantik der Renaissance. Berlin, 1901, pp. 48–54, ill., accepts the attribution to Gozzoli and dates them about 1456.
Bernard Berenson. "A Miniature Altar-Piece by Pesellino at Empoli." Revue archéologique 40 (January–June 1902), pp. 194–95, rejects Mackowsky's [see Ref. 1898–99] suggestion that they are copies after lost originals by Pesellino, maintaining that they are early works by Gozzoli.
Corrado Ricci. "Benozzo Gozzoli: la pala della compagnia della Purificazione." Rivista d'arte 2 (1904), pp. 3, 5, attributes them to Gozzoli.
Herbert P. Horne in "Notes on Pictures in the Royal Collections, Article VIII—The Story of Simon Magus, Part of a Predella Painting by Benozzo Gozzoli." Burlington Magazine 7 (1905), pp. 378, 381, attributes them to Gozzoli.
Bernhard Berenson. The Florentine Painters of the Renaissance. 3rd ed. New York, 1909, p. 114.
G. Gronau in Allgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme and Felix Becker. Vol. 3, Leipzig, 1909, p. 344, attributes them to Gozzoli.
[Joseph Archer] Crowe and [Giovanni Battista] Cavalcaselle. A New History of Painting in Italy from the II to the XVI Century. Ed. Edward Hutton. Vol. 2, The Sienese School of the XIV Century; The Florentine School of the XV Century. London, 1909, p. 486 n. 3, Hutton mentions them among works by Gozzoli.
Joseph Archer Crowe and Giovanni Battista Cavalcaselle. A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century. Ed. Langton Douglas. Vol. 4, Florentine Masters of the Fifteenth Century. London, 1911, p. 194 n. 2, Douglas attributes them to Gozzoli but notes the influence of Pesellino.
Adolfo Venturi. Storia dell'arte italiana. Vol. 7, part 1, La pittura del quattrocento. Milan, 1911, p. 430 n. 1.
B[ryson]. B[urroughs]. "An Altarpiece by Benozzo Gozzoli." Metropolitan Museum of Art Bulletin 10 (January 1915), pp. 224–28, ill., believes they originally formed a small alterpiece or retable, stating that their size precludes the possibility that they were predella panels; dates them about 1461, based on their similarity to panels from Gozzoli's dismembered altarpiece for the Compagnia di San Marco, Florence (divided between the National Gallery, London; Hampton Court, London; Pinacoteca di Brera, Milan; Gemäldegalerie, Berlin; National Gallery of Art, Kress Collection, Washington; and Philadelphia Museum of Art, Johnson Collection); discusses the iconography.
Elena Contaldi. Benozzo Gozzoli: la vita—le opere. Milan, 1928, pp. 30, 32, thinks they are very probably by Gozzoli.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 11, The Hague, 1929, pp. 172–74, attributes them to Gozzoli and dates them 1459–63.
G[offredo]. J. Hoogewerff. Benozzo Gozzoli. Paris, 1930, p. 92, as predella panels by Gozzoli.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 264.
Lionello Venturi. Italian Paintings in America. Vol. 2, Fifteenth Century Renaissance. New York, 1933, unpaginated, pl. 218, considers them "partly replicas, executed by the master himself" of predella scenes from the altarpiece for the Compagnia di San Marco, Florence; dates them a little after 1461 and observes the influence of Fra Angelico, Ghiberti, and Uccello.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 227.
Bernard Berenson. The Drawings of the Florentine Painters. amplified ed. Chicago, 1938, vol. 1, p. 87 n. 4.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 31–33, ill., states that they originally formed an altarpiece; calls them free replicas of the predella panels from Gozzoli's altarpiece for the Compagnia di San Marco, commissioned in 1461, and dates them to about that time.
A. Hyatt Mayor. "Change and Permanence in Men's Clothes." Metropolitan Museum of Art Bulletin 8 (May 1950), p. 265, ill. (detail), dates it about 1460–65.
Martin Davies. The Earlier Italian Schools. London, 1951, p. 59 n. 13, attributes them to Gozzoli and notes their compositional connection to the predella panels from the altarpiece for the Compagnia di San Marco.
Walter Paatz and Elisabeth Paatz. Die Kirchen von Florenz. Vol. 4, Frankfurt am Main, 1952, pp. 640, 655 n. 63, idenitfy them as works by Gozzoli from the "Cappellone" (Alessandri chapel) in San Pier Maggiore, dating them about 1461.
Henriette van Dam van Isselt. "Sulla iconografia della 'Conversione di Saulo' di Michelangelo." Bollettino d'arte 37 (1952), p. 318, notes its iconographic similarity with the fresco of the same subject by Michelangelo (Pauline Chapel, Vatican City).
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 6, section 3, The Fourteenth Century. New York, 1956, pp. 44–45 n. 9, attributes them to Gozzoli and identifies them as the predella of the five-part polyptych by "Lippus Benevieni" from the Alessandri altar in the Cappellone in San Pier Maggiore [see Notes], observing the correspondence of subject and size; cites Bicci di Lorenzo's predella under a Daddesque triptych (Gemäldegalerie, Berlin) as a similar instance of a predella painted several generations later than the main panels.
Charles de Tolnay. Michelangelo. Vol. 5, The Final Period. Princeton, 1960, p. 71, fig. 295, attributes it to Gozzoli, discusses the icongraphy, and relates it to a Florentine engraving of about 1460–70 and a drawing by Bartolomeo di Giovanni in the Galleria degli Uffizi, Florence.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 95.
Maria G[razia]. Ciardi-Dupré Dal Poggetto. "Sulla collaborazione di Benozzo del Paradiso." Antichità viva 6 (1967), p. 67, fig. 5 (color), attributes it to Gozzoli, observing the influence of Fra Angelico and Domenico Veneziano.
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. 118–22, ill., state that they were part of the predella of the polyptych by Lippo di Benivieni identified by Offner [see Ref. 1956], noting that a fifth panel which must have depicted an episode from the life of Christ or the Virgin is lost, and dating them possibly to the first half of the 1450s; compare 15.106.1 and 15.106.3 to similar panels at Hampton Court, London, and the Gemäldegalerie, Berlin, which come from the predella of Gozzoli's altarpiece for the Compagnia di San Marco.
Anna Padoa Rizzo. Benozzo Gozzoli: pittore fiorentino. Florence, 1972, p. 63–64, 129–30, fig. 125, dates them about 1459–63 and states that the church of San Pier Maggiore was suppressed in 1783.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 25, 439, 606.
Keith Christiansen. "Early Renaissance Narrative Painting in Italy." Metropolitan Museum of Art Bulletin 41 (Fall 1983), pp. 6–9, 31, fig. 23 (color), discusses the geometry of the composition and dates the MMA panels after 1461.
Thomas Martone. The Theme of the Conversion of Paul in Italian Paintings from the Early Christian Period to the High Renaissance. PhD diss., New York University. New York, 1985, pp. 213–14, fig. 133, dates it about 1460, discusses the iconography, and cites the influence of Fra Angelico, Masaccio, and Domenico Veneziano.
Roberto Bartalini in Pittura di luce: Giovanni di Francesco e l'arte fiorentina di metà Quattrocento. Ed. Luciano Bellosi. Exh. cat., Casa Buonarroti, Florence. Milan, 1990, p. 118.
Anna Padoa Rizzo. Benozzo Gozzoli. Florence, 1992, p. 80, no. 40, ill., states that a missing fifth panel must have occupied the central position in the predella.
Keith Christiansen. "Simone Martini's altar-piece for the commune of Siena." Burlington Magazine 136 (March 1994), p. 158, dates the panels to the 1450s or 1460s; states that Lippo di Benivieni's altarpiece stood on the high altar of San Pier Maggiore.
Cristina Acidini Luchinat. Benozzo Gozzoli. Antella (Florence), 1994, pp. 35, 41.
Diane Cole Ahl. Benozzo Gozzoli. New Haven, 1996, pp. 22, 81, 225–26, 235–37, no. 46, pl. 295, calls the predella an early work, dating between about late 1442 and late January 1444; believes that there is no lost fifth panel and that the four MMA panels constitute the entire predella.
Miklós Boskovits in Benozzo Gozzoli: allievo a Roma, maestro in Umbria. Ed. Bruno Toscano and Giovanna Capitelli. Exh. cat., Chiesa-Museo di San Francesco, Montefalco. Cinisello Balsamo, Milan, 2002, p. 267.
Dillian Gordon. The Italian Paintings Before 1400. London, 2011, p. 90 n. 139.