G. F. Waagen. Verzeichniss der Gemälde-Sammlung des Königlichen Museums zu Berlin. Berlin, 1837, p. 284, no. 62, attributes it to the school of Giotto and identifies it as Saint Francis.
foreword by [Wilhelm von] Bode. Königliche Museen zu Berlin: Beschreibendes Verzeichnis der Gemälde. 4th ed. Berlin, 1898, p. 407 [8th ed., 1921, p. 601], attributes it to the school of Giotto and identifies it as Saint Francis.
Mary Logan Berenson. Letter. January 18, 1927, calls it close to Giotto.
Richard Offner. "Four Panels, a Fresco and a Problem." Burlington Magazine 54 (May 1929), pp. 224, 229–30, pl. 1 (reconstruction), as in the Griggs collection, New York; reconstructs the polyptych to which it belonged, placing the panels in the following order, left to right: missing panel, Saint John the Baptist, Madonna and Child, Saint Anthony of Padua, Saint Anthony Abbot; relates it to a polyptych in the church of Santo Spirito and frescoes in the church of Santa Croce (both in Florence) representing the miracles of Saint Sylvester and the Coronation of the Virgin; attributes all these works to Maso di Banco.
W. Suida in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 24, Leipzig, 1930, p. 209, attributes it to the painter of the Saint Sylvester frescoes in Santa Croce and mentions it as part of a polyptych with the panels grouped by Offner [see Ref. 1929].
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. XXVIII, accepts Offner's reconstruction and attribution to Maso [see Ref. 1929].
Bernard Berenson. "Quadri senza casa: Il Trecento fiorentino, I." Dedalo 11 (1931), pp. 986, 988 n. 3, calls it a Franciscan saint and attributes it to Maso.
Bernardo Berenson. "Quadri senza casa: Il Trecento fiorentino, II." Dedalo 11 (1931), p. 1073 n. 5, accepts Offner's reconstruction [see Ref. 1929].
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 337, lists it as a work of Maso di Banco, and calls it "Franciscan Saint holding Book".
Lionello Venturi. Italian Paintings in America. Vol. 3, Sixteenth to Eighteenth Century. New York, 1933, unpaginated, pl. 35, accepts Offner's reconstruction and attribution to Maso [see Ref. 1929].
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 299.
Mostra Giottesca. Exh. cat., Palazzo degli Uffizi. Bergamo, 1937, p. 54, no. 152, pl. 90, as Attributed to Maso di Banco; call it part of a polyptych with the panels in Berlin.
H. D. Gronau. Andrea Orcagna und Nardo di Cione. Berlin, 1937, pp. 81 n. 82, p. 83 n. 118, accepts Offner's attribution and reconstruction [see Ref. 1929]; dates it early 1340s, about the time of Maso's frescoes in Santa Croce.
Luigi Coletti. "La mostra giottesca." Bollettino d'arte 31 (August 1937), p. 67, fig. 20, mentions it among other works by Maso.
Emilio Cecchi. Giotto. Milan, 1937, p. 121, calls it a Franciscan saint by Maso.
Alfred M. Frankfurter. "The Maitland F. Griggs Collection." Art News 35 (May 1, 1937), p. 29, ill. p. 34, notes the Giottesque style and the Sienese influence.
Giulia Sinibaldi and Giulia Brunetti, ed. Pittura italiana del duecento e trecento: Catalogo della mostra giottesca di Firenze del 1937. Exh. cat., Galleria degli Uffizi. Florence, 1943, pp. 481–83, no.152, ill., attribute it to Maso.
Francis Henry Taylor. "The Maitland F. Griggs Collection." Metropolitan Museum of Art Bulletin 2 (January 1944), ill. p. 158.
Pietro Toesca. Il Trecento. Turin, 1951, p. 628, erroneously as still in the Griggs collection, New York; mentions it as part of a dispersed polyptych, dating it to the time of Maso's frescoes in Santa Croce or somewhat later.
Roberto Longhi. "Qualità e industria in Taddeo Gaddi, I." Paragone 9 (January 1959), p. 34, accepts Offner's reconstruction and attribution of the original polyptych [see Ref. 1929].
Roberto Longhi. "Qualità e industria in Taddeo Gaddi ed altri, II." Paragone 9 (March 1959), p. 6, lists it with works attributed to Maso.
V. N. Lazarev. The Origins of the Italian Renaissance. Vol. 2, Russian ed. Moscow, 1959, p. 101, pl. 138, accepts the attribution to Maso and the reconstruciton.
Evelyn Sandberg Vavalà. Studies in the Florentine Churches. Vol. 1, Florence, 1959, pp. 129–30, compares it to the Saint Stephen attributed to Giotto in the Museo Horne, Florence.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, pp. 135–36, lists it as from the same polyptych that contained the Berlin panels.
Samuel J. Wagstaff Jr. An Exhibition of Italian Panels & Manuscripts from the Thirteenth & Fourteenth Centuries in Honor of Richard Offner. Exh. cat., Wadsworth Atheneum Museum of Art. Hartford, 1965, pp. 12–13, no. 4, ill.
Maria Adelaide Bianchini. Maso di Banco. Milan, 1966, unpaginated, colorpl. XIII, dates the polyptych about 1340–45.
Bernhard Degenhart and Annegrit Schmitt. Corpus der italienischen Zeichnungen, 1300–1450. Vol. 1, part 1, Süd- und Mittelitalien. Berlin, 1968, p. 67, fig. 106, date it to the time of Maso's polyptych in Santo Spirito, Florence, about 1340.
David George Wilkins. "Maso di Banco: A Florentine Artist of the Early Trecento." PhD diss., University of Michigan, 1969, pp. 100–105, 137 n. 43, 187, 189, no. A-36, figs. 62 (reconstruction), 65–66, compares Maso's figure style to that of Giotto and notes the influence of Sienese art; tentatively dates it about 1335 and reconstructs the original polyptych with Saint John the Baptist on the far left.
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. 21–22, ill., date it towards the end of the 1330s, about the time of Maso's frescoes in Santa Croce.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 123, 373, 608.
Miklòs Boskovits. Pittura fiorentina alla vigilia del Rinascimento, 1370–1400. Florence, 1975, pp. 22, 196 n. 48, dates it soon after 1337–38.
Robert Oertel and Hans-Joachim Eberhardt in Catalogue of Paintings, 13th–18th Century. 2nd, rev. ed. Berlin-Dahlem, 1978, p. 263, under no. 1040, mention it with the other panels from the same polyptych; say the missing panel may have depicted Saint Francis [see Notes].
Keith Christiansen. "Fourteenth-Century Italian Altarpieces." Metropolitan Museum of Art Bulletin 40 (Summer 1982), pp. 28–29, figs. 26 (color), 27 (reconstruction), reproduces Offner's reconstruction of the original polyptych [see Ref. 1929] and calls it contemporary with Maso's frescoes in Santa Croce.
David G. Wilkins. Maso di Banco. New York, 1985, pp. 66–77, 180–81, 183–84, figs. 72 (reconstruction), 75 (before restoration), 76, [text and reconstruction adapted from Ref. Wilkins 1969].
et al. Gemäldegalerie Berlin, Gesamtverzeichnis der Gemälde. Berlin, 1986, p. 47, mention it with the other panels from the original polyptych.
Miklós Boskovits. Gemäldegalerie Berlin, Katalog der Gemälde: frühe italienische Malerei. Ed. Erich Schleier. Berlin, 1987, pp. 107–8, under no. 41, fig. 162 (reconstruction), dates it to the second half of the 1330s and suggests that the altarpiece may have been painted for Santa Croce; reconstructs the altarpiece with Saint Anthony Abbot next to the Madonna and Child and Saint Anthony of Padua on the far right
Ferdinando Bologna. "Conclusioni (e proposte)." Simone Martini: atti del convegno. Ed. Luciano Bellosi. Florence, 1988, pp. 249–50, fig. 9, says it belongs to a dismembered polyptych and dates it 1340; observes stylistic relationships with works of Simone Martini, suggesting Simone's influence on Maso
Colin Eisler. Masterworks in Berlin: A City's Paintings Reunited. Boston, 1996, p. 23, erroneously identifies it as Saint Anthony Abbot.
Carola Hicks in The Dictionary of Art. Ed. Jane Turner. Vol. 20, New York, 1996, p. 552, erroneously calls it the only surviving panel of the original polyptych [see Notes].
Enrica Neri Lusanna in Maso di Banco: la cappella di San Silvestro. Ed. Cristina Acidini Luchinat and Enrica Neri Lusanna. Milan, 1998, pp. 37–38, ill. (reconstruction), follows Offner's [see Ref. 1929] reconstruction; suggests that it may be the altarpiece painted for the Bardi di Vernio chapel in Santa Croce, although this contradicts the testimony of Vasari.
Stefan Weppelmann. Spinello Aretino e la pittura del Trecento in Toscana. Florence, 2011, p. 191 n. 4.