Robert de Cotte. Mémoire des tableaux qui sont dans la maison du chevalier du Puis [dal Pozzo]. [ca. 1689] [Bibliothèque Nationale, Ms. Fr 9447, fol. 201–13; first chapter published by Philippe de Chennevières-Pointel, in "Recherches sur la vie et les ouvrages de quelques peintres provinciaux de l'ancienne France," Paris, vol. 3, 1854, p. 152], lists among the works by Poussin in the dal Pozzo collection a picture "représentant les deux Chevaliers qui vont délivrer Renaud des enchantements d'Armide" (representing the two soldiers going to rescue Rinaldo from the enchantment of Armida).
Inventory of Gabriele dal Pozzo. March 5–7, 1695, fol. 260v, no. 85 [Archivio di Stato, Rome, office 6, vol. 210; published in Brejon de Lavergnée 1973, p. 83], as "Altro di simil' misura con Carlo, e Ubaldo che vanno da Rinal / do del Pusino".
Anton Gruss. Verzeichniss der gräflich Harrach'schen Gemälde-Gallerie zu Wien. Vienna, 1856, p. 41, no. 200, as by Eustache Le Sueur.
Catalog der Erlaucht Gräflich von Harrach'schen Bildergallerie. Vienna, 1897, p. 74, no. 199, as by Le Sueur.
Otto Grautoff. Nicolas Poussin: Sein Werk und sein Leben. Munich, 1914, vol. 1, p. 110; vol. 2 , pp. 66–67, no. 41, ill., as by Poussin, in the Harrach collection, Vienna; dates it 1630–35; comments on its condition.
Walter Friedlaender. Nicolas Poussin: Die Entwicklung seiner Kunst. Munich, 1914, p. 128, lists a picture of this subject by Poussin formerly in the dal Pozzo collection, incorrectly citing Jonathan Richardson's "Traité de la peinture," 1728, as the source for this provenance; notes that a similar scene is depicted in a drawing engraved by H. Leroy [present location of drawing and/or engraving unknown].
Hermann Ritschl. Katalog der Erlaucht Gräflich Harrachschen Gemälde-Galerie in Wien. Vienna, 1926, p. 67, no. 199, attributes it to Poussin and identifies the subject as a scene from canto 14 [sic] of Tasso's "Gerusalemme liberata" (Jerusalem Delivered); transcribes an old label on the frame as "Carolus et Hubertus / Tassus cec. Rinaldum / liberaturi / Poussinus Roma."; erroneously identifies the woman in the boat as Armida [she is Fortuna].
Walter Friedlaender in Allgemeines Lexikon der bildenden Künstler. 27, Leipzig, 1933, p. 324, lists it in the Harrach collection and notes that a picture with a related subject was recorded by Richardson [sic, see Friedlaender 1914] in the Pozzo collection; mentions two drawings in the Louvre.
Wolfgang Born. "A Poussin Exhibition at Vienna." Burlington Magazine 68 (February 1936), p. 101, as "Fight with the Dragon".
Louis Hourticq. La jeunesse de Poussin. Paris, 1937, p. 97, notes that it is faithful to Tasso's text.
Louis Massignon. "L'amour courtois de l'Islam dans la 'Gerusalemme Liberata' du Tasse: À propos d'un tableau de Poussin." Bulletin de la Société Poussin premier cahier (June 1947), p. 35.
Thérèse Bertin-Mourot. "Notes et documents." Bulletin de la Société Poussin premier cahier (June 1947), p. 73.
Monique Lavallée. Bulletin de la Société Poussin second cahier (December 1948), p. 91.
Walter Friedländer, in collaboration with Anthony Blunt, and Rudolph Wittkower. The Drawings of Nicolas Poussin: Catalogue Raisonné. 2, London, 1949, pp. 21, 23, state that five paintings by or after Poussin illustrate the story of Rinaldo and Armida; date the present work early in the 1630s and mention that no preparatory drawings for it are known to exist, although two drawings in the Louvre represent a moment close to it in the narrative.
Doris Wild. "Nicolas Poussin von den Schlachtenbildern zum sterbenden Germanikus." Actes du XIXe congrès international d'histoire de l'art. Paris, 1959, p. 452, assigns the picture to Poussin's early Roman period, commenting on the relatively unarticulated landscape and sky which she finds typical of his works of this time.
Jacques Thuillier. "Pour un 'Corpus Pussinianum'." Nicolas Poussin. Paris, 1960, vol. 2, p. 203, publishes de Cotte's list of dal Pozzo's holdings, commenting on the dating and authorship of the manuscript.
Anthony Blunt in Exposition Nicolas Poussin. Exh. cat., Musée du Louvre. Paris, 1960, p. 69, no. 32, ill., dates it between 1630 and 1633; states that the subject is taken from canto 15 of Tasso's Jerusalem Delivered; suggests that in its scale, style, and vertical format—unusual for the artist—the picture resembles Poussin's "Arcadian Shepherds" (Chatsworth, Devonshire) and "Inspiration of the Lyric Poet" (Niedersächsisches Landesmuseum, Hanover); states that the present picture must be the one formerly in the dal Pozzo collection; adds that it is not known when exactly the work entered the Harrach collection.
Denis Mahon. "Poussin's Early Development: An Alternative Hypothesis." Burlington Magazine 102 (July 1960), p. 300, dates the picture around 1632, after the "Inspiration of the Poet" (Louvre, Paris) and towards the end of Poussin's "blond" phase; comments that it has been recently cleaned.
Francis Haskell and Sheila Rinehart. "The Dal Pozzo Collection, Some New Evidence: Part 1." Burlington Magazine 102 (July 1960), p. 324, reprints in full de Cotte's account of the dal Pozzo Collection.
Günther Heinz. Katalog der Graf Harrach'schen Gemäldegalerie. Vienna, 1960, p. 59, no. 70, fig. 12, dates it about 1630 and reports that it appeared as no. 74 in the Harrach collection inventories of 1745 and 1749.
Sheila Somers Rinehart. "Poussin et la famille dal Pozzo." Nicolas Poussin. Paris, 1960, vol. 1, p. 29, no. 4, lists it as Rinaldo and Armida in the Harrach collection, formerly in the dal Pozzo collection, and tentatively dates it about 1628.
Heinz Althöfer. "Reopening of the Harrach Gallery." Burlington Magazine 102 (June 1960), p. 263.
Rensselaer W. Lee. "Armida's Abandonment: A Study in Tasso Iconography Before 1700." De artibus opuscula XL: Essays in Honor of Erwin Panofsky. New York, 1961, pp. 347–48, assigns Poussin's four pictures from the story of Rinaldo and Armida to the 1630s; notes that this one is the latest in the series, taken from canto 15.
Georg Kauffmann. "Poussins letztes Werk." Zeitschrift für Kunstgeschichte 24, no. 2 (1961), pp. 113–14, suggests that the ornamented boat was taken from a similar one depicted in relief on a sarcophagus fragment that was in Trastevere during Poussin's time and preserved in an engraving by the Master of the Die (fig. 13).
Denis Mahon. "Poussiniana: Afterthoughts Arising from the Exhibition." Gazette des beaux-arts, 6th ser., 60 (July–August 1962), pp. 53, 55, states that the picture fits between the "Realm of Flora" of 1631 and the "Adoration of the Magi" of 1633 (both Staatliche Kunstsammlungen, Gemäldegalerie, Dresden), "though it could perhaps be rather nearer the latter than the former"; adds that it does not "conflict in any fundamental way with the color and touch (allowing, as we must, for the differences in dimensions) of the Louvre 'Inspiration of the Poet'".
Francis Haskell. Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque. New York, 1963, p. 105.
Anthony Blunt. "Poussin and his Roman Patrons." Walter Friedlaender zum 90. Geburtstag. Berlin, 1965, p. 61, states that from the various accounts of pictures belonging to Cassiano dal Pozzo's family after his death, the "Companions of Rinaldo" can be identified with reasonable certainty as his or his brother's.
Anthony Blunt. The Paintings of Nicolas Poussin: A Critical Catalogue. [London], 1966, pp. 141–42, no. 205, ill., dates it about 1633–35.
Walter Fiedlaender. Nicolas Poussin: A New Approach. New York, 1966, p. 50.
Anthony Blunt. Nicolas Poussin: The A. W. Mellon Lectures in the Fine Arts, 1958, National Gallery of Art, Washington, D.C. New York, 1967, vol. 1, p. 148; vol. 2, pl. 86, explains "Poussin's somewhat unexpected choice of themes" from Jerusalem Delivered by drawing attention to Tasso's 'Allegoria' prefixed to the poem, but rarely reprinted in modern editions, "in which he tells the reader that it is to be read not simply as a series of stories but as a carefully planned allegory symbolizing the order of things".
Denys Sutton. "Pleasure for the Aesthete." Apollo 90 (September 1969), pp. 230, 234, colorpl. XXI.
Rensselaer W. Lee. Letter to Anne Poulet. February 12, 1970, remarks that Poussin has followed Tasso's text even to the dragon's breathing fire and smoke, and the description of the snug harbour into which the lady—whom he identifies as the goddess Fortuna—has guided her boat; notes also that "in Cesare Ripa's 'Iconologia' which Poussin certainly knew, the destruction of pleasures and base affections, really the goal of the two knights in Tasso . . . is represented by a warrior threatening a dragon"; states that the earliest represenation of this scene is a drawing by the Ferrarese painter Domenico Mona, from a manuscript of about 1580 of the poem (see La Gerusalemme Liberata in venti disegni di Domenico Mona, ed. Luciano Capra, Ferrara, n.d., but "recently published").
Sheila Somers Rinehart. Letter to Anne Poulet. July 5, 1971, suggests that the inscription on the label is very likely "the transcription of an original inscription in capital letters, in imitation of a Roman upper case, such as was found on the back of the original canvas of another work, also certainly from Cassiano's collection, the 'Eliezer and Rebecca' in Mr. Denis Mahon's collection"; adds that it is "fairly safe to assume" that this original label was covered-up during a relining.
Everett Fahy in "Paintings, Drawings." The Wrightsman Collection. 5, [New York], 1973, pp. 159–68, no. 18, ill. p. 161 (color), figs. 1–3, 8 (details), 9 (x-radiograph detail), dates it before 1633 on stylistic grounds and considers it unlikely that this and Poussin's other paintings depicting earlier events from Tasso's poem were conceived as a unified series; discusses Antonio Tempesta's engraving of the "Companions of Rinaldo," and is tempted to think Poussin was inspired by the coiled snake and classical costumes in Tempesta's engraving; recognizes motifs in the helmets and armor that have been copied from specific classical antiquities; suggests that the scenes's transpostion from the Middle Ages to ancient times is typical of the creative process by which Poussin sought to elevate his subjects and that dal Pozzo's enthusiasm for antiquity may well account for the strongly archaeological character of this transformation; observes that "the scalloped edges of the original canvas indicate that it has not been cut down to any considerable extent, since the scalloped pattern was formed when the canvas was nailed to the original stretcher"
Arnauld Brejon de Lavergnée. "Tableaux de Poussin et d'autres artistes français dans la collection Dal Pozzo: Deux inventaires inédits." Revue de l'art no. 19 (1973), p. 83, publishes Gabriele dal Pozzo's inventory of 1695 (Archivo di Stato, office 6, vol. 210), in which the picture is listed as no. 85.
Jacques Thuillier. L'opera completa di Poussin. Milan, 1974, pp. 94, 130, no. 74, ill., dates the picture 1631–33; considers it likely that the canvas was trimmed at the top and cut down considerably in the width, as its proprtions are unusual for Poussin's paintings.
Dean Walker in The Metropolitan Museum of Art: Notable Acquisitions, 1975–1979. New York, 1979, pp. 50–51, ill.
Doris Wild. Nicolas Poussin: Leben, Werk, Exkurse. Zürich, 1980, vol. 1, pp. 55, 68; vol. 2, p. 71, no. 71, ill., dates it probably 1636.
Pierre Rosenberg. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art. 1982, p. 370, no. 4, ill. [French ed., La peinture française du XVIIe siècle dans les collections américaines, Paris, 1982].
Christopher Wright. Poussin Paintings: A Catalogue Raisonné. New York, 1985, pp. 48–49, 166, 176–77, 281, no. 78, ill. in color, assigns the picture to the early 1630s.
Timothy J. Standring. Letter to the Curator of European Paintings. August 11, 1987, states that the painting was owned by Marchese Ottavio Rinaldo dal Bufalo from as early as April 10, 1723, when he signed a receipt for this picture as well as others by Poussin from Cosimo Antonio dal Pozzo; he owned it until at least October 22, 1731, when a notary document mentions that dal Bufalo still retained the paintings; adds that dal Pozzo documents in the Archivo Capitolino of Rome suggest that the painting was no longer in their collection by 1740; concludes that if Count Aloys Thomas Raimund Harrach was in Italy between 1728 and 1732, he probably purchased the picture either in late 1731, or sometime during 1732.
Jean-Jacques Lévêque. La vie et l'oeuvre de Nicolas Poussin. Paris, 1988, pp. 174–75, ill. (color).
Alain Mérot. Nicolas Poussin. New York, 1990, p. 287, no. 195, ill.
Pierre Rosenberg in Nicolas Poussin, 1594–1665. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1994, pp. 170, 404.
Anthony Blunt. Nicolas Poussin [based on Ref. Blunt 1967]. London, 1995, pp. 148, 150, ill. in color.
Jonathan Unglaub. "Poussin's Reflection." Art Bulletin 86 (September 2004), pp. 506, 509, fig. 6.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 136–40, no. 38, ill. (color).
Joseph Baillio et al. The Arts of France from François Ier to Napoléon Ier. Exh. cat., Wildenstein & Co., Inc. New York, , pp. 51, 71, no. 11, ill., date it about 1633.
Everett Fahy in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008. New York, 2009, p. 32.