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, pl. VII, considers this work a free replica of a panel now in the Gemäldegalerie, Berlin, which he attributes to Pesellino; 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. 224–26, 228–29, 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.
Wilhelm von Bode. Letter to John G. Johnson. 1915, considers it a copy of Gozzoli's predella panel of the same subject in the Gemäldegalerie, Berlin [see Ref. Burroughs 1915].
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, fig. 113, 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. 219, 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.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 276, no. 751, ill. (cropped).
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.
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.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 95.
J. W. Goodison and G. H. Robertson. Fitzwilliam Museum Cambridge: Catalogue of Paintings. Vol. 2, Italian Schools. Cambridge, 1967, p. 49 n.1, call it a "modified repetition" of Gozzoli's predella panel of the same subject in the Gemäldegalerie, Berlin.
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 it to a similar panel in the Gemäldegalerie, Berlin, from the predella of Gozzoli's altarpiece for the Compagnia di San Marco, and another by Domenico Veneziano in the Fitzwilliam Museum, Cambridge.
Anna Padoa Rizzo. Benozzo Gozzoli: pittore fiorentino. Florence, 1972, p. 63–64, 129–30, fig. 124, 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, 454, 606.
Roberta Jeanne Marie Olson. "Studies in the Later Works of Sandro Botticelli." PhD diss., Princeton University, 1975, p. 121, fig. 98.
Hellmut Wohl. The Paintings of Domenico Veneziano, ca. 1410–1461: A Study in Florentine Art of the Early Renaissance. New York, 1980, p. 60 n. 36, dates it before the Berlin panel of about 1461–62 and closer to Domenico Veneziano's panel (Fitzwilliam Museum, Cambridge) of the same subject from the Saint Lucy Altarpiece of the mid-1440s.
Keith Christiansen. "Early Renaissance Narrative Painting in Italy." Metropolitan Museum of Art Bulletin 41 (Fall 1983), pp. 6–9, 30, fig. 6 (color), compares it to the earlier version of the same scene from the predella of the altarpiece for the Compagnia di San Marco, and dates the MMA panels after 1461.
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. 81, 225–26, 235–37, no. 46, pl. 296, 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.
Silvia Blasio in La città ideale: l'utopia del rinascimento a Urbino tra Piero della Francesca e Raffaello. Ed. Alessandro Marchi and Maria Rosaria Valazzi. Exh. cat., Galleria Nazionale delle Marche, Urbino. Milan, 2012, p. 152, under no. 3.1.