Joseph Breck. "Paintings and Drawings by Tiepolo in the Metropolitan Museum." Art in America 1 (January 1913), pp. 8, 12, 14, fig. 6, attributes it to Giovanni Battista Tiepolo and calls it an early study for his ceiling painting formerly in the Palazzo Barbarigo, Venice; dates it about 1740, before another sketch (Museo Poldi-Pezzoli, Milan) for the same painting.
Max Goering. Letter. 1938, attributes it to Giovanni Battista's workshop and suggests that the lower group may be by Giovanni Domenico Tiepolo.
M[ax]. Goering in Allgemeines Lexikon der bildenden Künstler. 33, Leipzig, 1939, p. 160, lists it among works by Giovanni Domenico; calls it "Adel u. Weisheit" [Nobility and Wisdom].
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 286–87, ill., attributes it to the workshop of Giovanni Battista and calls it "Virtue and Wisdom"; notes that it is probably based on a sketch by Giovanni Battista, who included similar groups in several of his ceiling decorations.
Antonio Morassi. A Complete Catalogue of the Paintings of G. B. Tiepolo. London, 1962, p. 33, attributes it to Giovanni Domenico and calls it "Virtue and Wisdom".
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 198, 543, 605, identify it as an unknown allegory.
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. 66–67, pl. 81, attribute it to Giovanni Domenico, noting that his style in this work is very close to that of his father; call it "Virtue and Wisdom".
Linda Wolk-Simon. "Domenico Tiepolo: Drawings, Prints, and Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 54 (Winter 1996/97), pp. 38, 40–41, fig. 59 (color), calls it possibly a study for Giovanni Domenico's ceiling fresco of about 1790–95 in the Palazzo Caragiani, Venice, or for some other late work, dating it to the 1780s; notes that the style is close to that of his father, and that the composition is close to several works by Giovanni Battista from the 1740s; mentions a related drawing and etching by Giovanni Domenico.