Carlo Ridolfi. Le maraviglie dell'arte. Venice, 1648, part 1, p. 237 [1914 ed., part 1, p. 256], mentions that Schiavone painted a ceiling decorated with scenes from the story of Psyche for the conti Collalti at San Salvatore, and that the center compartment depicted the marriage of Cupid and Psyche, possibly this work.
London and its Environs Described. London, 1761, vol. 2, p. 123, lists it as "The Marriage of Cupid, &c.," by Andrea Schiavone, in the new dining room at Chiswick.
[Thomas Martyn]. The English Connoisseur: Containing an Account of Whatever is Curious in Painting, Sculpture, &c. in the Palaces and Seats of the Nobility and Principal Gentry of England, Both in Town and Country. London, 1766, vol. 1, p. 40, lists it as at Chiswick.
Bernhard Berenson. The Venetian Painters of the Renaissance. 3rd ed. New York, 1897, p. 125, lists it as "Marriage of Cupid and Psyche," by Schiavone, in the collection of the Duke of Devonshire, Chatsworth.
Adolfo Venturi. Storia dell'arte italiana. Vol. 9, part 4, La pittura del Cinquecento. Milan, 1929, p. 741 n.
L[ili]. Fröhlich-Bum in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 24, Leipzig, 1930, p. 359, as Venus and Cupid.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 518.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 446.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 159; vol. 2, pl. 1162.
Creighton Gilbert. Major Masters of the Renaissance. Exh. cat., Rose Art Museum, Brandeis University. Waltham, Mass., 1963, pp. 25–26, no. 18, pl. 18, notes the influence of Parmigianino in the elongated, boneless figures.
Francis L. Richardson. "Andrea Schiavone." PhD diss., Institute of Fine Arts, New York University, 1971, pp. 259, 389, 435–38, 683–84, no. 265, fig. 79, calls it a later, more elaborate version of a painting in the Istituto Nazionale di Studi sul Rinascimento, Palazzo Strozzi, Florence; dates it about 1549–50; believes that either the Florence or MMA picture could be the one mentioned by Ridolfi [see Ref. 1648].
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 51–52, pls. 56, 57 (overall and detail), tentatively date it to the late 1540s or early 1550s, before Schiavone's paintings in the Libreria, Venice; call it almost certainly the painting mentioned by Ridolfi [see Ref. 1648] in the Castello di San Salvatore, Collalto; suggest that Schiavone may have been influenced by a ceiling decoration (Palazzo del Te, Mantua) of the same subject painted by Giuliano Romano and pupils in about 1528.
Francis L. Richardson. Cable to Everett Fahy. March 7, 1973, calls it an "autograph Schiavone of highest quality".
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 93, ill., states definitely that it comes from Collalto and dates it about 1550.
Terisio Pignatti in collaboration with Kenneth Donahue in The Golden Century of Venetian Painting. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1979, p. 90.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 276, 280, fig. 504.
Francis L. Richardson. Andrea Schiavone. Oxford, 1980, pp. 39, 42, 159–60, 168–69, no. 280, fig. 110, dates it about 1549.
Francis L. Richardson in The Dictionary of Art. Ed. Jane Turner. Vol. 28, New York, 1996, p. 82.
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 36–37, fig. 33 (color).
Benjamin Couilleaux in Titien, Tintoret, Véronèse . . . Rivalités à Venise. Ed. Vincent Delieuvin et al. Exh. cat., Musée du Louvre. Paris, 2009, p. 338, dates it about 1549.