Helen Comstock. "Francesco di Giorgio as Painter." International Studio 89 (April 1928), pp. 33–36, ill., as in the collection of Felix Wildenstein; attributes it to Francesco di Giorgio, calls it a companion to the Chess Players, 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. 3, as in a private collection, New York; attributes it to Francesco di Giorgio; identifies it as a companion to the "The Chess Players" (MMA 43.98.8) 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), pp. 103–4, pl. 3, as in the Wildenstein collection, New York; as by Francesco di Giorgio.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, under pl. CCXXXIII.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 202, lists it as "Illustration of a Novel," by Francesco di Giorgio; as in the collection of Henry Wauters, Brussels.
Lionello Venturi. Italian Paintings in America. Vol. 2, Fifteenth Century Renaissance. New York, 1933, unpaginated, under pl. 305.
Selwyn Brinton. Francesco di Giorgio Martini of Siena. Vol. 1, London, 1934, p. 109.
Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 327, under no. 55 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 311, under no. 55], as in the Loewenstein collection, Brussels; calls it the pendant to the Chess Players, which he attributes to Francesco di Giorgio.
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, attributes it to Francesco di Giorgio.
Allen Weller. "A Reconstruction of Francesco di Giorgio's Chess Game." Art Quarterly 3 (Spring 1940), pp. 168, 171–72 n. 17, fig. 4, as whereabouts unknown; 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 the Chess Players and associates this work with those two pictures; favors the story of Huon of Bordeaux as the source of the narrative for the Chess Players, but notes that this work does not seem to depict an episode from that story.
Allen Stuart Weller. Francesco di Giorgio, 1439–1501. Chicago, 1943, pp. 240–42, 258, fig. 98 [similar text to Ref. Weller 1940].
Helen Comstock. "The Connoisseur in America: Part of the Maitland F. Griggs Collection at the Metropolitan." Connoisseur 113 (June 1944), p. 107.
Roberto Papini. Francesco di Giorgio Architetto. Florence, 1946, vol. 1, pp. 54–55; vol. 2, fig. 8, attributes it to Francesco di Giorgio; as in the Wauters collection, Brussels.
John Pope-Hennessy. Sienese Quattrocento Painting. Oxford, 1947, p. 32, as in a Brussels collection; notes that it illustrates a scene from the same unidentified story as the Chess Players.
Harry B. Wehle. "The Chess Players by Francesco di Giorgio." Metropolitan Museum of Art Bulletin 5 (February 1947), p. 156, ill., attributes it to Francesco di Giorgio; states that it is probably from the same piece of furniture as the Chess Players, but that the two protagonists in this work are not to be identified with the couple playing chess.
Federico Zeri. "Una pala d'altare di Gerolamo da Cremona." Bollettino d'arte 35 (1950), pp. 39, 42 n. 10, attributes the three related pictures to Girolamo da Cremona.
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, calls it The Serenade; 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.
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 Chess Players and with the I Tatti panel, 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.
Hans-Joachim Eberhardt in Maestri della pittura veronese. Ed. Pierpaolo Brugnoli. Verona, 1974, p. 110, lists it under works attributed to Liberale da Verona; calls it The Marriage Proposal.
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), p. 53, fig. 46, attribute the Chess Players to Girolamo da Cremona and date it 1468–74; identify this work 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, whereabouts unknown; dates it about 1470; states that the subject is unidentified but may derive 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, p. 26, state that it "is almost certainly from the same cassone" as the Chess Players, which they attribute to Girolamo da Cremona and date 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. 57a, 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, 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. 66–68, 73 nn. 75, 76, 82, fig. 7, discusses it as an illustration of the story of Huon of Bordeaux.
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. 54, ill. p. 216 (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 woman seen in a window by a handsome young man . . . is an episode in Piccolomini's much-read tale [Aeneas Silvius Piccolomini (later Pope Pius II), "Tale of Two Lovers"]—though he saw her by day, rather than, as here, by night or twilight; stars, now much abraded, in fact appear in the sky".
Adrian W. B. Randolph. Touching Objects: Intimate Experiences of Italian Fifteenth-Century Art. New Haven, 2014, pp. 91–92, 256 n. 49, fig. 39, notes that while the woman is objectified by her placement within the window frame, this site also offers her a stage on which to perform, contrasting her animated gestures with the passivity of the man; 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).