Claude Phillips. "Fine Art: The Royal Academy, II." The Academy no. 1203 (May 25, 1895), p. 449, criticizes Leighton for "placing on a Doric half-column of marble a painted earthenware vase of the fifth century B.C.".
Ernest Rhys. Sir Frederic Leighton, Bart., P.R.A.: An Illustrated Chronicle. London, 1895, p. 72.
R. Jope Slade. "The Royal Academy of Arts, 1895." Art-Journal (1895), p. 164, calls it Leighton's most important work exhibited, "the stateliest of them all"; reproduces [p. 161] a draped figure study in chalk on brown paper.
M. H. Spielmann. "The Royal Academy Exhibition, I." Magazine of Art (1895), p. 243, calls the figure "the very personification of depression"; reproduces the same study for the draped figure [p. 241] and two others, for the head and the drapery around the column [p. 243].
[F. G. Stephens]. "Fine Arts: The Royal Academy (First Notice)." Athenæum no. 3523 (May 4, 1895), p. 576, describes it as a "realization of [Leighton's] idea of how a hero's betrothed visited the ashes of her lover slain in battle".
[F. G. Stephens]. "Fine-Art Gossip." Athenæum no. 3514 (March 2, 1895), p. 290, describes five of Leighton's proposed Academy exhibits; contrasts "Flaming June" with "Lachrymae".
"The Royal Academy." Times (May 4, 1895), p. 12.
"Metropolitan Museum of Art: New Purchases and Loans." New York Times (May 4, 1896), p. 4.
William Sharp. "The Art Treasures of America (Concluded.)." Living Age, 7th ser., 1 (December 3, 1898), p. 603.
Arthur Hoeber. The Treasures of The Metropolitan Museum of Art of New York. New York, 1899, pp. 99–100, ill.
Ernest Rhys. Frederic Lord Leighton: An Illustrated Record of His Life and Work. London, 1900, pp. 51, 130.
Alice Corkran. Frederic Leighton. London, 1904, pp. 95, 199.
Mrs. Russell Barrington. The Life, Letters and Work of Frederic Leighton. New York, 1906, vol. 2, pp. 260, 317, 335, 375, 392.
Edgcumbe Staley. Lord Leighton of Stretton, P.R.A. London, 1906, pp. 159, 215–16, 249, mentions the "solemn-looking cypress-trees, from a very early study in water-colour done at Florence in 1854"; notes that this drawing, signed "F.L., Florence", is at Leighton House, in addition to a pencil drawing of the same subject and a sketch for the whole picture.
Masters in Art: Leighton 9 (1908), pp. 27, 37, 40, pl. 7.
From Realism to Symbolism: Whistler and His World. Exh. cat., Wildenstein. New York, 1971, p. 95, no. 92, compares the pose to that of Whistler's "Symphony in White".
Dietrich von Bothmer. Memo to Everett Fahy. January 26, 1973, proposes that in all probability the Attic red-figured cup at the base of the column is Louvre G 471, bought in 1879 [see J. D. Beazley, "Attic Red-Figure Vase-Painters", Clarendon Press, Oxford, 2nd ed., 1963, vol. 2, p. 798, no. 1].
Leonée Ormond and Richard Ormond. Lord Leighton. New Haven, 1975, pp. 129, 173, no. 390, pl. 185, date it about 1895 and suggest that it may have been inspired by a statue of Melpomene in the British Museum.
Leonée Ormond and Richard Ormond in Victorian High Renaissance. Exh. cat., City Art Gallery, Manchester. Minneapolis, 1978, pp. 97, 125–26, no. 62, ill. p. 125 and colorpl. 8.
Keith Roberts. "Review: The "Victorian High Renaissance" Exhibition: Manchester, Minneapolis & Brooklyn." Burlington Magazine 120 (October 1978), p. 696.
Susan P. Casteras. The Substance or the Shadow: Images of Victorian Womanhood. Exh. cat., Yale Center for British Art, Yale University. New Haven, 1982, pp. 44, 83, no. 51, pl. 48, notes that the Victorians would have associated the fallen laurel wreath with past glory, the myrtle with love, the cypresses with death, and the ivy garland with fidelity.
Hilarie Faberman in The Substance or the Shadow: Images of Victorian Womanhood. Exh. cat., Yale Center for British Art, Yale University. New Haven, 1982, p. 102.
Ian Jenkins. "Frederic Lord Leighton and Greek vases." Burlington Magazine 125 (October 1983), p. 601, fig. 25, notes that the fountain-house scene on the hydria (B331) [fig. 21] appears on vases in Leighton's "Captive Andromache" (ca. 1888; City Art Gallery, Manchester) and "At the Fountain" (1892; Milwaukee Art Center); states that the composition itself may have been inspired by vase painting, or, more specifically, by the tableau of Electra mourning at the funerary stele of Agamemnon in G. C. Warr's 1886 version of Aeschylus's "Oresteia".
Christopher Wood. Olympian Dreamers: Victorian Classical Painters, 1860–1914. London, 1983, p. 70, fig. 21.
Joseph A. Kestner. Mythology and Misogyny: The Social Discourse of Nineteenth-Century British Classical-Subject Painting. Madison, 1989, pp. 164–65, pl. 3-23.
Christopher Newall. The Art of Lord Leighton. Oxford, 1990, p. 136, colorpl. 95.
Jean Clair in Lost Paradise: Symbolist Europe. Exh. cat., Montreal Museum of Fine Arts. Montreal, 1995, p. 182, no. 245, colorpl. 230.
Lynn Roberts in In Perfect Harmony: Picture + Frame, 1850–1920. Exh. cat., Van Gogh Museum. Amsterdam, 1995, p. 85, fig. 64 (1895 photograph of Leighton's studio), notes that such aedicular frames "recall the portals of Greek temples".
Stephen Jones in Frederic Leighton, 1830–1896. Exh. cat., Royal Academy of Arts, London. New York, 1996, p. 235, no. 120, ill. (color), suggests that the choice of subject may have reflected Leighton's declining health or the death in 1892 of his father.
Christopher Newall in Frederic Leighton, 1830–1896. Exh. cat., Royal Academy of Arts. London, 1996, pp. 194, 236, notes that it was first shown in Leighton's studio in March 1895 with "Flaming June".
Martin Postle. "Leighton's Lost Model: The Rediscovery of Mary Lloyd." Apollo 143 (February 1996), pp. 27, 29, fig. 6, quotes Sir John Everett Millais's son's observation that the model for his father's "A Disciple" (Tate Britain, London) was a woman named Mary Lloyd, who had sat for Leighton since at least 1893 and had been the model for this picture.
Rosemary Barrow. "Drapery, Sculpture and the Praxitelean Ideal." Studies in British Art (Frederic Leighton: Antiquity, Renaissance, Modernity). 5, 1999, pp. 51, 62.
Tim Barringer. "Rethinking Delaroche/Recovering Leighton." Victorian Studies 44 (Autumn 2001), pp. 1–2, 9–10 n. 12, fig. 1.
David Peters Corbett. The World in Paint: Modern Art and Visuality in England, 1848–1914. University Park, Pa., 2004, pp. 102, 278 n. 57, fig. 34 (color).
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 15, 138–40, no. 24, ill. (color) [Catalan ed., Barcelona, 2006, pp. 17, 76–79, no. 19, ill. (color, overall and details)], notes that "it is possible that the entire composition was inspired by a mourning scene from an Attic white-ground lekythos, a vessel intended to hold offerings of oil at a tomb"; states that its present frame was ordered by Leighton and that the picture is in "an exceptionally fine state of preservation".
Philippa Martin in A Victorian Master: Drawings by Frederic, Lord Leighton. Exh. cat., Leighton House Museum. London, 2006, p. 100.
Daniel Robbins in A Victorian Master: Drawings by Frederic, Lord Leighton. Exh. cat., Leighton House Museum. London, 2006, p. 33, under no. 1.6.
Alison Smith in A Victorian Master: Drawings by Frederic, Lord Leighton. Exh. cat., Leighton House Museum. London, 2006, p. 20, notes that Leighton adapted the cypress tree in the background from a drawing made in Florence in 1854 (Leighton House Museum, London).
Rebecca A. Rabinow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 79, 266, no. 73, ill. (color and black and white).
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 286–88, no. 136, ill. (color).