J[ohann]. A[nton]. Ramboux. Katalog der Gemälde alter italienischer Meister (1221–1640) in der Sammlung des Conservator J. A. Ramboux. Cologne, 1862, p. 15, no. 75, lists the ten panels of apostles [see Notes] as by Lippo Memmi and dates them about 1340; compares them with frescoes in the town hall in San Gimignano.
J. A. Crowe and G. B. Cavalcaselle. A History of Painting in Italy from the Second to the Fourteenth Century. Vol. 2, London, 1864, pp. 105–6 n. 4, attribute the ten panels to Memmi.
Katalog des Museums Wallraf-Richartz in Köln. Cologne, 1869, p. 137, no. 743, attributes the panels to Lippo Memmi and dates them about 1340.
Bernhard Berenson. The Central Italian Painters of the Renaissance. reprinted 1903. New York, 1897, p. 148, lists the ten panels as by Memmi.
A[dolfo]. Venturi. Storia dell'arte italiana. Vol. 5, La pittura del Trecento e le sue origini. Milan, 1907, p. 667 n. 1 (continued from p. 666), mentions "parecchi busti di Apostoli (?)" in Cologne as attributed to Memmi by Berenson [see Ref. 1897].
Mary Logan Berenson. Letter. January 2, 1925, writes that her husband has tentatively suggested that the four Griggs panels might be early works by Lippo Vanni.
Richard Offner. Lecture at Maitland F. Griggs' house. January 19, 1925, calls the four Griggs panels "obviously Simonesque".
Louis Gielly. Les primitifs siennois. Paris, 1926, p. 111, lists the panels as by Memmi.
Raimond van Marle. Letter. February 1, 1926, attributes the four Griggs panels to an immediate follower of Simone Martini.
Robert Lehman. The Philip Lehman Collection, New York: Paintings. Paris, 1928, unpaginated, under pl. XXIII, mentions that Griggs has some panels from the same series as the Lehman works, which he attributes to Simone Martini.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. LXII (with Saint Bartholomew).
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 534, lists the four Griggs panels as from Simone's workshop.
Lionello Venturi. Italian Paintings in America. Vol. 1, Romanesque and Gothic. New York, 1933, unpaginated, pl. 78 (with Saint Bartholomew), attributes the ten panels to Memmi, stating that, together with two additional figures of apostles and one of Christ (all lost), they probably formed the predella of an altarpiece.
Raimond van Marle. Le scuole della pittura italiana. Vol. 2, La scuola senese del XIV secolo. The Hague, 1934, p. 258 n. 1 (continued from pp. 256–57), lists the four Griggs panels as by the school of Simone.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 459.
[F. Mason] Perkins in Allgemeines Lexikon der bildenden Künstler. Vol. 31, Leipzig, 1937, p. 67, suggests that the series was executed in Simone's workshop, after his designs.
Alfred M. Frankfurter. "The Maitland F. Griggs Collection." Art News 35 (May 1, 1937), p. 155, attributes the series to Simone, but believes that at least two of the panels may be by a different hand; states that the works originally formed a predella.
Pietro Toesca. Il Trecento. Turin, 1951, p. 551 n. 75, includes these four panels among works that can almost certainly be attributed to Memmi.
George Kaftal. Iconography of the Saints in Tuscan Painting. Florence, 1952, col. 729, as by the workshop of Simone Martini.
Theodore Allen Heinrich. "The Lehman Collection." Metropolitan Museum of Art Bulletin 12 (April 1954), p. 218, mentions the four Griggs panels as companions to the Lehman Saint Philip, which he attributes to Simone Martini.
Gertrude Coor. "Trecento-Gemälde aus der Sammlung Ramboux." Wallraf-Richartz-Jahrbuch 18 (1956), pp. 116, 118–19, attributes the ten panels to Simone's workshop, after his design, and identifies them as either the predella or the upper register of a large polyptych.
Charles Sterling, ed. Exposition de la collection Lehman de New York. Exh. cat., Musée de l'Orangerie. Paris, 1957, pp. 42–43, under no. 51, attributes the series to the workshop of Simone and states that it consists of twelve panels; finds it more likely that the series composed the upper register of a polyptych than the predella, as with Simone's altarpiece painted for the church of Santa Caterina in Pisa (now Museo Nazionale, Pisa).
Fern Rusk Shapley. Paintings from the Samuel H. Kress Collection. Vol. 1, Italian Schools: XIII–XV Century. London, 1966, pp. 48–49, under nos. K1350–53, attributes the series to Simone Martini and Assistants and dates it about 1320, the date of Simone's Pisa altarpiece.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, pp. 402–4, lists the ten panels as from Simone's workshop.
Maria Cristina Gozzoli in L'opera completa di Simone Martini. Milan, 1970, p. 105, no. 53, ill., attributes the series to Lippo Memmi and dates it about 1320; believes it probably formed the predella of a large altarpiece.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 122, 432, 608.
Arno Preiser. Das Entstehen und die Entwicklung der Predella in der italienischen Malerei. PhD diss., Julius-Maximilians-Universität, Würzburg. Hildesheim, 1973, pp. 104–5, comparing these panels to the corresponding series in Simone's Pisa altarpiece, believes that they would have formed the side galleries of a heptaptych and that the two missing panels probably depicted Peter and Paul.
Cristina De Benedictis. "A proposito di un libro su Buffalmacco." Antichità viva 13 (March–April 1974), pp. 8, 10 n. 13, attributes the series to Lippo Memmi and an assistant and suggests that, together with a figure of the Blessing Christ, the panels formed an upper register of the altarpiece to which the Museum's Saint Paul by Memmi (88.3.99) also belonged.
Michael Mallory. "An Altarpiece by Lippo Memmi Reconsidered." Metropolitan Museum Journal 9 (1975), p. 201 n. 19, tentatively suggests that the series may have formed the predella of the altarpiece by Memmi to which the Museum's Saint Paul belonged, but notes that the ten panels have a much more Simonesque style than the rest of the altarpiece [see also Ref. De Benedictis 1974].
Cristina De Benedictis. La pittura senese, 1330–1370. Florence, 1979, p. 93, lists the series as by Memmi.
Fern Rusk Shapley. Catalogue of the Italian Paintings. Washington, 1979, vol. 1, pp. 432–33, attributes the series to Simone's workshop and dates it about 1320.
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. 95–97, pl. 8, attribute the series to the workshop of Simone, stating that Simone himself seems to have been responsible for the design and that most of the execution is due to an assistant; date the panels stylistically between 1320 and 1333; believe that the series probably comes from the upper register of an altarpiece.
Andrew Martindale. Simone Martini. New York, 1988, pp. 29, 32, 35 nn. 18, 20–21, believes that the series is more likely to have formed a predella than an upper register, but adds that the resulting altarpiece would have been quite large and that none of the rest of it seems to have survived.
Giovanni Previtali. "Introduzione ai problemi della bottega di Simone Martini." Simone Martini: atti del convegno. Ed. Luciano Bellosi. Florence, 1988, p. 166 n. 23, relates the series to the row of apostles forming the predella of Meo da Siena's altarpiece in the Galleria Nazionale dell'Umbria, Perugia.
C[ristina]. De Benedictis in Enciclopedia dell'arte medievale. Vol. 7, Rome, 1996, p. 732, attributes the ten panels to Lippo, dates them to the 1320s, and states that they probably formed the upper register of a polyptych like the one by Simone in the Museo Nazionale di San Matteo, Pisa.
Lust und Verlust. Ed. Hiltrud Kier and Frank Günter Zehnder. Exh. cat., Wallraf-Richartz-Museum. Vol. 2, "Corpus-Band zu Kölner Gemäldesammlungen 1800–1860."Cologne, 1998, p. 551, no. 75e, ill., attributes the series to Simone's workshop and tentatively dates it about 1320.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, p. 205, classifies a punch mark appearing in this painting.
Sabina Spannocchi in La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. Ed. Luciano Bellosi. Florence, 2009, vol. 1, pp. 132, 135–39, 141, fig. 2 (color), discusses the series in relation to the panel depicting Saint James Minor in the Salini collection.
Miklós Boskovits in La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. Ed. Luciano Bellosi. Florence, 2009, vol. 1, pp. 149–50, rejects De Benedictis's [see Ref. 1974] proposal that this series formed the predella of the altarpiece by Lippo Memmi to which the Museum's "Saint Paul" (88.3.99) belonged.