Bernard Berenson. Letter to Maitland Griggs. May 13, 1926, attributes it to Francesco di Giorgio.
Paul Schubring. "New Cassone Panels—III." Apollo 5 (April 1927), pp. 156, 159, ill., attributes it to Matteo di Giovanni, calls it part of a cassone front, and thinks it probably illustrates a scene from Boccaccio.
Helen Comstock. "Francesco di Giorgio as Painter." International Studio 89 (April 1928), pp. 33–36, ill., attributes it to Francesco di Giorgio, calls it a companion to the ex Wauters panel (MMA 1986.147), and states that the subject must be taken from some unidentified contemporary romance.
F. Mason Perkins. "Three Paintings by Francesco di Giorgio." Art in America 16 (February 1928), pp. 68, 71, fig. 2, attributes it to Francesco di Giorgio; identifies it as a companion to the "Scene from a Novella" (MMA 1986.147; then in a private collection, New York; later in the Wauters collection, Brussels) and calls the two panels part of a cassone or other piece of furniture; cannot identify the subject.
Lilia Marri Martini. "San Bernardino e la donna: II—le ribalde." La Diana 5 (1930), p. 104, pl. 4, as by Francesco di Giorgio.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCXXXIII, calls it a late work by Francesco di Giorgio.
Raimond van Marle. Iconographie de l'art profane au Moyen-Age et à la Renaissance. Vol. 1, La vie quotidienne. The Hague, 1931, p. 66, as by Francesco di Giorgio.
S[elwyn]. B[rinton]. "Review of Venturi 1931." Apollo 13 (February 1931), p. 129, rejects the attribution to Francesco di Giorgio.
Piero Misciattelli. Studi senesi. Siena, 1931, p. 68, as by Francesco di Giorgio.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 202.
Erwin Panofsky. Letter to Maitland Griggs. April 6, 1932, as by Francesco di Giorgio; states that it is part of a cycle of pictures, probably for a cassone; suggests that the two chess players might be either Tristan and Yseult, Huon of Bordeaux and the daughter of Ivoryn, or Lancelot and Guinevere.
Lionello Venturi. Italian Paintings in America. Vol. 2, Fifteenth Century Renaissance. New York, 1933, unpaginated, pl. 305.
Selwyn Brinton. Francesco di Giorgio Martini of Siena. Vol. 1, London, 1934, p. 109, lists it as by Francesco di Giorgio.
Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 327, pl. 55 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 311, pl. 55], attributes it to Francesco di Giorgio and dates it about 1490.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 174.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 16, The Hague, 1937, p. 262, fig. 141, attributes it to Francesco di Giorgio.
Alfred M. Frankfurter. "The Maitland F. Griggs Collection." Art News 35 (May 1, 1937), p. 156, ill. p. 43, as by Francesco di Giorgio; states that it illustrates "a medieval legend either of the family for which it was painted or one from Boccaccio".
Allen Weller. "A Reconstruction of Francesco di Giorgio's Chess Game." Art Quarterly 3 (Spring 1940), pp. 162–72, figs. 1, 5 (reconstruction), 6 (composite photograph), attributes it to Francesco di Giorgio and calls it a late work; identifies a fragment depicting a group of young men (Villa I Tatti, Florence) as having originally formed the left side of this panel and posits the existence of a lost fragment from the right side of the composition which would have depicted a group of young women; also suggests that there may have been a second picture placed to the right of his reconstructed composition, and that the two works were furniture decorations; favors the story of Huon of Bordeaux as the source of the narrative, but notes that the ex Wauters panel (MMA 1986.147), evidently associated with this work, seemingly depicts no episode from that story.
G. F. Hartlaub. "Zur Würdigung des Francesco di Giorgio als Maler und Bildhauer." Pantheon 13 (February 1940), ill. p. 32, as by Francesco di Giorgio.
Allen Stuart Weller. Francesco di Giorgio, 1439–1501. Chicago, 1943, pp. 92, 198, 234–42, 254, 258, figs. 97, 100 (composite photograph), 101 (reconstruction) [similar text to Ref. Weller 1940].
Francis Henry Taylor. "The Maitland F. Griggs Collection." Metropolitan Museum of Art Bulletin 2 (January 1944), ill. p. 154, as by Francesco di Giorgio.
Conrad Albrizio. "Maitland Griggs Collection Installed at the Metropolitan Museum." Art Digest 18 (January 1, 1944), p. 29, ill. p. 5, as by Francesco di Giorgio.
Robert Langton Douglas. "Review of Weller 1943." Art in America 32 (April 1944), p. 103, accepts the attribution to Francesco di Giorgio, but calls it an early work.
Helen Comstock. "The Connoisseur in America: Part of the Maitland F. Griggs Collection at the Metropolitan." Connoisseur 113 (June 1944), p. 107, ill. p. 108.
John Pope-Hennessy. Sienese Quattrocento Painting. Oxford, 1947, pp. 20–21, 32, pls. 80 (overall), 81 (detail), attributes it to Francesco di Giorgio; dates it after 1485 on p. 20 and 1480–90 on p. 32; connects it with the I Tatti fragment and states that the work decorated the front of a chest or box; adds that the ex Wauters panel illustrates a scene from the same unidentified story.
Harry B. Wehle. "The Chess Players by Francesco di Giorgio." Metropolitan Museum of Art Bulletin 5 (February 1947), pp. 153–56, ill. p. 155 and detail on cover (color), notes that the panel is cut only at the left, and accepts Weller's [see Ref. 1940] identification of the I Tatti fragment as the left portion of the composition; thinks the source is probably the story of Huon of Bordeaux; believes that the ex Wauters panel (MMA 1986.147) probably comes from the same piece of furniture but does not illustrate the same story.
Federico Zeri. Letter. May 27, 1948, rejects the attribution to Francesco di Giorgio, assigning it to Girolamo da Cremona and dating it about 1475–80.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 275, no. 748, ill. p. 274.
Federico Zeri. "Una pala d'altare di Gerolamo da Cremona." Bollettino d'arte 35 (1950), p. 39, fig. 10 (detail).
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 224, no. 81, colorpl. 81, as by Francesco di Giorgio.
Michel Laclotte. De Giotto à Bellini: les primitifs italiens dans les musées de France. Exh. cat., Orangerie des Tuileries. Paris, 1956, p. 61, under no. 86, repeats Zeri's [see Ref. 1950] attribution of the three panels to Girolamo da Cremona.
Carlo Del Bravo. "Liberale a Siena." Paragone 11 (September 1960), p. 32, attributes the three related panels to Liberale da Verona and dates them about 1475.
Carlo Del Bravo. "'Neroccio de' Landi', di Gertrude Coor." Paragone 13 (September 1962), p. 72.
Franco Russoli. La raccolta Berenson. Milan, 1962, unpaginated, under pl. LI.
Carlo Del Bravo. "Liberale in patria." Arte veneta 17 (1963), p. 41, compares the figures in the three related panels to Liberale da Verona's fresco in the Piazza delle Erbe, Verona, dating them to the end of Liberale's Sienese period.
Carlo Del Bravo. Liberale da Verona. Florence, 1967, pp. CXIV, CXVI, ill. p. CXVII.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, pp. 140–41, 189–90, 210–11, connects it with the I Tatti and ex Wauters panels and lists all three works as by either Francesco di Giorgio, Liberale da Verona, or Girolamo da Cremona.
Burton B. Fredericksen. The Cassone Paintings of Francesco di Giorgio. Malibu, 1969, pp. 43–44, attributes the three related panels to Girolamo da Cremona.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 92, 498, 608, attribute it to Girolamo da Cremona.
Hans-Joachim Eberhardt in Maestri della pittura veronese. Ed. Pierpaolo Brugnoli. Verona, 1974, p. 111, lists it under works attributed to Liberale da Verona.
Michel Laclotte and Élisabeth Mognetti. Peinture italienne. Paris, 1976, unpaginated, under no. 110.
John Pope-Hennessy and Keith Christiansen. "Secular Painting in 15th-Century Tuscany: Birth Trays, Cassone Panels, and Portraits." Metropolitan Museum of Art Bulletin 38 (Summer 1980), pp. 17, 53–55, figs. 47, 48 (color, overall and detail), attribute it to Girolamo da Cremona and date it 1468–74; identify the ex Wauters panel as "part of the same cassone or a companion piece," noting that "the protagonists are clearly the same as those who play chess".
Hans-Joachim Eberhardt. Die Miniaturen von Liberale da Verona, Girolamo da Cremona und Venturino da Milano in den Chorbüchern des Doms von Siena: Dokumentation - Attribution - Chronologie. PhD diss., Freie Universität, Berlin. Munich, 1983, p. 219 n. 253, dates the three panels 1473 or a little later; mentions attributions to Francesco di Giorgio, Girolamo da Cremona, and Liberale da Verona, but does not himself assign the works to a particular artist.
Paul F. Watson. "A Preliminary List of Subjects from Boccaccio in Italian Painting, 1400–1550." Studi sul Boccaccio 15 (1985–86), pp. 162–63, as by Girolamo da Cremona; dates it about 1470; states that the subject may be Anichino and Beatrice from the "Decameron".
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, pp. 26–27, pl. 21, attribute it to Girolamo da Cremona, noting the influence of Liberale da Verona; date it before 1472.
Michel Laclotte and Élisabeth Mognetti. Avignon, musée du Petit Palais: Peinture italienne. 3rd ed. Paris, 1987, p. 124, under no. 110.
Keith Christiansen in Painting in Renaissance Siena: 1420–1500. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 291, 294–96, no. 57b, ill. (overall in color, reconstruction in black and white), attributes it to Liberale da Verona, but notes the influence of Girolamo da Cremona and especially of Francesco di Giorgio, suggesting that it may have been produced in Francesco's workshop; adds that technical analysis has established that the three panels originally formed a complete uninterrupted surface on the front of a cassone, depicting two consecutive episodes of the same story.
Andrea De Marchi in Francesco di Giorgio e il Rinascimento a Siena, 1450–1500. Ed. Luciano Bellosi. Exh. cat., chiesa di Sant'Agostino, Siena. Milan, 1993, pp. 232, 240, 243, as by Liberale.
Patricia Simons. "(Check)Mating the Grand Masters: The Gendered, Sexualized Politics of Chess in Renaissance Italy." Oxford Art Journal 16, no. 1 (1993), pp. 65–69, 73 n. 74, fig. 6, discusses it as an illustration of the story of Huon of Bordeaux.
Graham Hughes. Renaissance Cassoni, Masterpieces of Early Italian Art: Painted Marriage Chests 1400–1550. Alfriston, England, 1997, p. 232.
Michel Laclotte and Esther Moench. Peinture italienne: musée du Petit Palais Avignon. new ed. Paris, 2005, p. 119, under no. 119.
Xavier F. Salomon and Luke Syson in Renaissance Siena: Art for a City. Exh. cat., National Gallery. London, 2007, pp. 213, 215, no. 55, ill. p. 217 (color), date the three panels about 1475 and attribute them to an unknown Sienese painter close to Liberale da Verona and Francesco di Giorgio; assign a recently discovered cassone panel depicting "The Triumphal Procession of a Royal Conqueror" (Marquess of Northampton) to the same artist and date it slightly later, about 1475–80; state that the subject of the MMA and I Tatti panels is taken from an as yet unidentified Italian narrative based on French literature, noting that "the amorous chess game . . . is a feature of several medieval French romances".
Adrian W. B. Randolph. Touching Objects: Intimate Experiences of Italian Fifteenth-Century Art. New Haven, 2014, p. 256 n. 49, suggests that instead of depicting a specific scene from a romance, the three panels may "relate to the symbolic literature on chess that emerged in the late Middle Ages," citing Évrart de Conty (d. 1405), "Le livre des eschez amoureux moralisées" (Bibliothèque Nationale de France, Paris; published Montreal, 1993, ed. Françoise Guichard-Tesson and Bruno Roy).