Camille Pissarro. Letter to Lucien Pissarro. November 21, 1895 [published in Janine Bailly-Herzberg, ed., "Correspondance de Camille Pissarro. Tome 4/ 1895–1898," Paris, 1989, p. 119], mentions that he has seen a Puvis de Chavannes "reproduction des 'Picards' très beau celui-là arrangement... mais c'est égal il y a là-dedans une anomalie, cela n'est pas fait pour être vu comme un tableau, non, mille fois non, sur un mur de pierre de taille c'est admirable... mais ce n'est pas de la peinture" [possibly this picture; see Ref. Price 2010].
Gabriel Mourey. "Some Sketches by Puvis de Chavannes." International Studio 9 (November 1899), p. 17, mentions the reduction of "Ludus pro Patria" exhibited at Durand-Ruel, Paris.
"Recent Loans." Metropolitan Museum of Art Bulletin 16 (February 1921), p. 41, mentions that this picture has been lent to the MMA by Harry Payne Bingham.
Camille Mauclair. Puvis de Chavannes. Paris, 1928, p. 162, lists it as in the MMA's collection and calls it a sketch.
Charles Sterling and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, p. 228, ill., call it a reduced version of the picture above the entrance to the Salon Carré of the Musée de Picardie, Amiens, stating that "it is difficult to decide if it is a preliminary study or a replica".
Mary Anne Stevens and Alan Bowness in French Symbolist Painters: Moreau, Puvis de Chavannes, Redon and their Followers. Exh. cat., Hayward Gallery. London, 1972, pp. 108–9, no. 218, ill., date it about 1880–90 and call it a reduced replica of the Amiens mural; mention the cartoon of the composition (1880; Musées Royaux d'Art et d'Histoire, Brussels) and a related painting (Walters Art Museum, Baltimore).
Richard J. Wattenmaker. Puvis de Chavannes and the Modern Tradition. Exh. cat., Art Gallery of Ontario. Toronto, 1975, p. 23 n. 4, p. 67.
The Toledo Museum of Art: European Paintings. Toledo, 1976, p. 133.
Louise d'Argencourt in Puvis de Chavannes, 1824–1898. Exh. cat., Grand Palais, Paris. Ottawa, 1977, pp. 167–68, no. 150, ill. p. 170 [French ed., Paris 1976, pp. 169–70, no. 150, ill. p. 172], calls it a replica executed after 1882, perhaps as late as 1888–89.
James David Draper and Joan R. Mertens. Treasures from The Metropolitan Museum of Art, New York: Memories and Revivals of the Classical Spirit. Exh. cat., National Pinakothiki, Alexander Soutzos Museum. Athens, 1979, pp. 258–59, no. 101, ill., date it 1888–89.
William R. Johnston. The Nineteenth Century Paintings in the Walters Art Gallery. Baltimore, 1982, p. 147.
Aimée Brown Price. Pierre Puvis de Chavannes. Exh. cat., Van Gogh Museum. Amsterdam, 1994, p. 194 n. 1, under no. 107.
Pierre Vaisse in La Jeunesse des musées: Les musées de France au XIXe siècle. Exh. cat., Musée d'Orsay. Paris, 1994, pp. 161, 370, no. 51, ill. pp. 152, 162–63 (color, overall and detail), dates it 1889.
Brian Petrie. Puvis de Chavannes. Aldershot, England, 1997, pp. 11, 37, colorpl. X, dates it 1888–89.
From Puvis de Chavannes to Matisse and Picasso: Toward Modern Art. Exh. cat., Palazzo Grassi, Venice. [Milan], 2002, pp. 304–5, no. 11, ill. (color), dates it 1882.
Louise d'Argencourt in Puvis de Chavannes: Une voie singulière au siècle de l'Impressionnisme. Exh. cat., Musée de Picardie. Amiens, 2005, p. 186, under no. 177, remarks that on March 4, 1888, a musical work called "Ludus pro Patria" by Augusta Holmès was performed at the Salle des Concerts du Conservatoire de musique in Paris; suggests that a replica of the Amiens mural, perhaps ours, may have been painted for the occasion of this concert.
Aimée Brown Price. "The Artist and His Art." Pierre Puvis de Chavannes. 1, New Haven, 2010, pp. 146, 218 n. 32, identifies the "reproduction des 'Picards'" described by Pissarro at Durand-Ruel's gallery in November 1895 [see Ref. Pissarro 1895] as a variant of "Ludus pro Patria" [possibly this picture; see provenance].
Aimée Brown Price. "A Catalogue Raisonné of the Painted Work." Pierre Puvis de Chavannes. 2, New Haven, 2010, pp. 261–62, no. 287, ill., dates it about 1883–91, noting that it is uncertain whether it was executed shortly after the Amiens mural (Price no. 274) or years later; remarks that although its broad brushstrokes suggest those of a "preliminary, crudely blocked out sketch... the sense of completeness indicates a reduced version made after the mural".