H[arry]. B. W[ehle]. "An Altarpiece by Segna." Metropolitan Museum of Art Bulletin 19 (August 1924), pp. 191–93, ill. on cover, states that "it constitutes the main portions, or possibly all, of a large dismembered altarpiece" and is "one of the three signed works of Segna now known"; suggests that it may have been painted for a Silvestrine church.
Raimond van Marle. "Dipinti sconosciuti della Scuola di Duccio." Rassegna d'arte senese 19 (1926), p. 5, fig. 8, as "Madonna col bambino fra due monaci".
Curt H. Weigelt. Sienese Painting of the Trecento. Florence, 1930, pp. 17, 71, mentions it as one of four signed pictures by the artist; assigns it to Segna's early period, along with the Maestà in the Collegiata, Castiglion Fiorentino, which he dates a few years after Duccio's Maestà of 1311.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 524.
Raimond van Marle. Le scuole della pittura italiana. Vol. 2, La scuola senese del XIV secolo. The Hague, 1934, p. 133, assigns it to an intermediate period Segna's career, between his early Ducciesque works and his later, more evolved style.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 450.
[F. Mason] Perkins in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 30, Leipzig, 1936, p. 449, calls it an important work of the artist's middle period.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 72–73, ill., identifies the three panels as the central and end sections of a dismembered polyptych; states that the fragmentary signature was probably originally the same as the one on the artist's Maestà in Castiglion Fiorentino.
Pèleo Bacci. Fonti e commenti per la storia dell'arte senese. Siena, 1944, p. 17, pl. 5.
Cesare Brandi. Duccio. Florence, 1951, p. 152 n. 32, dates it about 1317.
George Kaftal. Iconography of the Saints in Tuscan Painting. Florence, 1952, cols. 145, 940, fig. 1051 (detail), identifies the figure to the right of the Madonna and Child as Saint Silvester Gozzolini.
Federico Zeri. "Un polittico di Segna di Bonaventura." Paragone no. 103 (1958), pp. 63–66, pl. 45, identifies two more panels—the figure of an apostle (Saint John the Evangelist; MMA, 41.100.22) and Saint John the Baptist (Perkins collection, Assisi)—as parts of the same altarpiece as these three; dates the work to Segna's late period and discusses the influence of Ugolino.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, pp. 392–93; vol. 2, pl. 48, lists it as companion to the two panels depicting Saints John the Baptist and John the Evangelist.
Luciano Bellosi in Arte in Valdichiana dal XIII al XVIII secolo. Exh. cat., Fortezza del Girifalco. Cortona, 1970, p. 5.
James H. Stubblebine. "The Role of Segna di Buonaventura in the Shop of Duccio." Pantheon 4 (July–August, 1972), pp. 272, 274–77, fig. 2, accepts Zeri's reconstruction of the altarpiece [see Ref. 1958]; considers it contemporary with the Castiglion Madonna, dating both works to the last decade of the painter's life.
Enzo Carli. "Nuovi studi nell'orbita di Duccio di Buoninsegna." Antichità viva 11, no. 6 (1972), pp. 6–8, 11, dates it 1315–16; accepts Zeri's reconstruction [see Ref. 1958]; notes that the Madonna was imitated by Meo da Siena in a polyptych in the Galleria Nazionale dell'Umbria, Perugia.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 186, 313, 355, 378, 438, 442, 450, 459, 606.
Giuseppe Palumbo. Collezione Federico Mason Perkins, Sacro Convento di S. Francesco, Assisi. Rome, 1973, p. 65, under no. 55, accepts Zeri's reconstruction [see Ref. 1958].
Piero Torriti. La Pinacoteca Nazionale di Siena: I dipinti dal XII al XV secolo. Genoa, 1977, p. 69, under no. 40, discusses the dating of some of the artist's works.
James H. Stubblebine. Letter to Katharine Baetjer. August 14, 1978, writes that in his forthcoming book [see Ref. 1979], he dates this picture to the 1320s.
James H. Stubblebine. Duccio di Buoninsegna and His School. Princeton, 1979, vol. 1, pp. 15, 130, 135–38, 143; vol. 2, figs. 325, 326 (detail), dates it to the 1320s, contemporary with the Castiglion Maestà; states that it must have been made for a Silvestrine Benedictine monastery; dates a pinnacle depicting Jeremiah (Keresztény Múseum, Esztergom, Hungary) to the same period [see Ref. Freuler 1997]; erroneously states that it was included in the Paolini sale of 1924; identifies Saints John the Baptist and John the Evangelist as the end panels, with Saints Benedict and Silvester Gozzolini flanking the Madonna and Child [see Notes].
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, pp. 88–89, pl. 1, date it to the 1320s; state that it must have been painted for the high altar of a Silvestrine church, suggesting Santo Spirito, begun in 1311, as a possibility.
Cristina De Benedictis and Monica Leoncini in La pittura in Italia: il Duecento e il Trecento. Ed. Enrico Castelnuovo. Milan, 1986, vol. 1, p. 333; vol. 2, p. 657.
Federico Zeri. La collezione Federico Mason Perkins. Turin, 1988, pp. 42, 45, fig. 1, under no. 12.
Michèle Heng. "Une œuvre inédite du peintre siennois Segna di Bonaventura." De la création à la restauration: travaux d'histoire de l'art offerts à Marcel Durliat pour son 75e anniversaire. Toulouse, 1992, pp. 507–9, 512–13 n. 35.
H[ayden]. B. J. Maginnis in The Dictionary of Art. Ed. Jane Turner. Vol. 28, New York, 1996, pp. 365–66.
Gaudenz Freuler. Letter to Keith Christiansen. October 23, 1997, writes that he has recently seen a pinnacle depicting King David which he attributes to Segna and which he believes may originally have formed part of this polyptych; suggests that a pinnacle depicting Jeremiah (Keresztény Múseum, Esztergom, Hungary) may also come from this work [see Ref. Stubblebine 1979].
Luciano Cateni in Duccio: alle origini della pittura senese. Ed. Alessandro Bagnoli et al. Exh. cat., Santa Maria della Scala, Siena. Milan, 2003, pp. 314–15, 324.
Carl Brandon Strehlke. Italian Paintings 1250–1450 in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004, pp. 219, 223 n. 18, mentions it as by Segna di Buonaventura's son Niccolò di Segna (active 1331–48), but dates it to the 1320s, so the attribution is apparently an error.
Luciano Bellosi, ed. La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. Florence, 2009, vol. 1, p. 75, dates the polyptych about 1319–20.
Dillian Gordon. The Italian Paintings Before 1400. London, 2011, p. 414.