J[osephine]. M[cCarrell]. L[ansing]. "Accessions and Notes." Metropolitan Museum of Art Bulletin 23 (March 1928), pp. 91–92, identifies the saint in bottom terminal (obverse) as Bernardino.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 14–15, ill. (obverse), as by an unknown Florentine painter from the second half of the fourteenth century; states that the style is that of the school of Orcagna.
Edoardo Arslan. Letter. April 21, 1952, considers it close to Maso di Banco.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 6, section 3, The Fourteenth Century. New York, 1956, pp. 166–67 n. 1, attributes it to the Master of the Orcagnesque Misericordia and identifies the saint in the bottom terminal (obverse) as Anthony of Padua.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 216, lists it as by an unidentified Florentine painter, 1350–1420.
Fern Rusk Shapley. Paintings from the Samuel H. Kress Collection. Vol. 1, Italian Schools: XIII–XV Century. London, 1966, p. 38, figs. 89–90, attributes it to the Master of the Orcagnesque Misericordia and suggests a date of about 1390; tentatively identifies the saint in the bottom terminal (obverse) as Anthony of Padua.
Federico Zeri. "Sul catalogo dei dipinti toscani del secolo XIV nelle gallerie di Firenze." Gazette des beaux-arts 71 (February 1968), p. 74, cites Offner's attribution to the Master of the Orcagnesque Misericordia.
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, p. 38, ill. pp. 36–37, date it about 1380, suggesting that it is one of the earliest known works of the Master of the Orcagnesque Misericordia; say the style blends the influences of Maso di Banco, Andrea Orcagna, and Jacopo di Cione.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 132, 287, 373, 393, 396, 607, tentatively identify the saint at the bottom of the obverse as Anthony of Padua.
Miklòs Boskovits. Pittura fiorentina alla vigilia del Rinascimento, 1370–1400. Florence, 1975, p. 370, dates it 1370–75.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Ed. Hayden B. J. Maginnis. supplement, A Legacy of Attributions. New York, 1981, pp. 12, 98, identifies the saint in the bottom terminal (obverse) as Anthony of Padua.
Gerardo de Simone in Beato Angelico: L'alba del Rinascimento. Ed. Alessandro Zuccari et al. Exh. cat., Musei Capitolini, Rome. Milan, 2009, p. 222, under no. 31.
Christine Sciacca in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Ed. Christine Sciacca. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, p. 103, identifies the figure on the bottom terminal of the obverse as Saint Bonaventure; notes the blue cross.
Andrea Bayer. "Collecting North Italian Paintings at The Metropolitan Museum of Art." A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America. Ed. Inge Reist. University Park, Pa., 2015, pp. 111–12, dates it about 1450 [sic].