Inventari de quadri, gioie e mobili della casa Correggio esistenti in Venezia e fuori. 1646–74, c. 10r [Archivio di Stato di Venezia; published in Ref. Borean 2000], as "Un dose ingenochioni con il san Giovanni Battista sant'Alvise et altri due santi da una, dall'altra san Marco con angeli modello un pocho mutato del quadro che è in collegio del Tintoretto vecchio d. 9".
John Ruskin. Letter to his father, John James Ruskin. February 13, 1852 [published in Ref. Cook and Wedderburn 1904, p. 376 n. 3], writes that he has seen this picture, which he attributes to Tintoretto and describes as "a sketch for a picture in Ducal Palace—the Doge Grimani [sic] kneeling before Christ," in the collection of the painter Nerly, to whom it was given by its former owner Rumohr.
John Ruskin. Letter to his father, John James Ruskin. July 19, 1853 [published in Ref. Cook and Wedderburn 1904, pp. 376–77 n. 3], requests that 50 Napoleons be sent to Venice in payment for this picture, which he had written for the previous fall and has already received.
John Ruskin. Letter to his father, John James Ruskin. July 24, 1853 [published in Ref. Cook and Wedderburn 1904, p. 377 n. 3], mentions its "wretched state".
John Ruskin. Letter to his father, John James Ruskin. August 14, 1853 [published in Ref. Cook and Wedderburn 1904, p. 377 n. 3], writes that he is glad that his father likes the picture, and that he is planning to have it varnished.
John Ruskin. The Rudimentary Series. 1872 [reprinted in Ref. Cook and Wedderburn 1906, pp. 170–71].
John Ruskin. Venetian Index. Travellers' Edition. 1881 [reprinted in Ref. Cook and Wedderburn 1904, p. 375], states that he bought this work, which he identifies as the original sketch for the painting in the Palazzo Ducale, Venice [see Notes], from signor Nerly, who had owned it for a long time; adds that it remained at Denmark Hill until his father's death , then went to Ruskin's school at Oxford.
John Ruskin. The Fireside: John Leech and John Tenniel. November 7 and 10, 1883 [published in Ref. Cook and Wedderburn 1908, p. 369].
[R. A. M. Stevenson]. "Fine Arts: The Royal Academy.—Winter Exhibition. (Fifth and Concluding Notice.)." Athenæum 107 (February 22, 1896), p. 255, identifies the four figures on the right as the patron saints of the Mocenigo family: John the Baptist, Augustine, John the Evangelist, and Gregory; interprets the shadow in the left foreground as cast by a statue of the Madonna and Child outside the picture; notes the presence of the lion of Saint Mark within the shadow.
J. B. Stoughton Holborn. Jacopo Robusti called Tintoretto. London, 1903, p. 107, notes that it is unfinished.
The Works of John Ruskin. 11, London, 1904, pp. 375–77 n. 3, notes that Ruskin removed the picture from Oxford when he resigned his professorship [the 2nd time, in 1885].
The Works of John Ruskin. 21, London, 1906, p. 170 n. 3.
The Works of John Ruskin. 33, London, 1908, p. 369 n. 1.
Robert Langton Douglas. Letter to Edward Robinson. November 30, 1910, interprets the subject as commemorating the dedication of the city of Venice to Christ before the battle of Lepanto; discusses the provenance.
B[ryson]. B[urroughs]. "Ruskin's Tintoretto." Metropolitan Museum of Art Bulletin 6 (January 1911), pp. 6, 9, ill. p. 7, rejects its connection with the painting of Doge Mocenigo in the Palazzo Ducale, calling it a preparatory study for another work; reprints part of Ref. Stevenson 1896, disagreeing with Stevenson's explanation of the foreground shadow, which he believes is probably cast by the figures of Christ and the angels.
F. P. B. Osmaston. The Art and Genius of Tintoret. London, 1915, vol. 2, pp. 177, 204, attributes it to Tintoretto and calls it a study for the painting in the Palazzo Ducale, which he assigns largely to assistants; lists it as owner unknown, America, and erroneously gives the sale date as 1911.
Detlev von Hadeln. "Zeichnungen des Tintoretto." Jahrbuch der preuszischen Kunstsammlungen 42 (1921), pp. 186, 188, fig. 29, dates it about 1577 or slightly later, calling it a model to be submitted to the commissioners of the final work, which he attributes to Tintoretto and assistants.
Erich von der Bercken and August L. Mayer. Jacopo Tintoretto. Munich, 1923, vol. 1, pp. 106, 229; vol. 2, pl. 135, date it about 1577–84, call it a sketch for the painting in the Palazzo Ducale, and consider it superior to the painting.
Mary Pittaluga. Il Tintoretto. Bologna, 1925, p. 281, calls it a study for the painting in the Palazzo Ducale and dates it 1577–84.
Friedrich Stock. "Rumohrs Briefe an Bunsen über Erwerbungen für das Berliner Museum." Jahrbuch der preuszischen Kunstsammlungen 46, Beiheft (1925), p. 75 n. 176, fig. 20.
François Fosca. Tintoret. Paris, 1929, p. 144, lists it as a sketch.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 562, lists it as a sketch for the painting in the Palazzo Ducale; dates it not later than 1581.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 483.
[Erich von der] Bercken in Allgemeines Lexikon der bildenden Künstler. 33, Leipzig, 1939, p. 194.
Harry B. Wehle. "Tintoretto's Finding of Moses." Metropolitan Museum of Art Bulletin 34 (December 1939), pp. 276–77.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 200–201, ill., states that it "may have been a preliminary sketch for" the painting in the Palazzo Ducale.
Erich von der Bercken. Die Gemälde des Jacopo Tintoretto. Munich, 1942, p. 118, no. 251, pls. 157–58 (overall and detail), dates it about 1577 or slightly later.
Giuseppe Fiocco. "Un capolavoro giovanile del Tintoretto nel Museo Civico di Padova." Bollettino del Museo Civico di Padova 31–43 (1942–54), p. 58.
Luigi Coletti. Il Tintoretto. 2nd ed. Bergamo, 1944, p. 42, calls it a first idea for the painting in the Palazzo Ducale.
Hans Tietze. Tintoretto. London, 1948, pp. 57–58, 356–57, fig. 234, dates it between 1577 and 1584, "during which years Mocenigo was in office" [sic]; believes that since it differs in so many ways from the final painting in the Palazzo Ducale, it was probably made as a general sketch submitted to the commissioners of the work, rather than as a working model for the assistants who executed the painting.
Harry B. Wehle. "An Unfinished Tintoretto Explained." Metropolitan Museum of Art Bulletin 7 (March 1949), pp. 173–80, ill. (overall, x-ray detail, infrared detail), identifies the dark area surrounding the lion as underpainting; discusses the similarities and differences between this picture and the finished painting in the Palazzo Ducale; notes that x-rays and infrared photographs reveal the presence of two figures, whom he identifies as Saint Mark and an angel, and which were painted over by a later artist; discusses the subject; notes that the likeness of Mocenigo was copied from Tintoretto's portrait of him now in the Accademia, Venice; identifies the four saints on the right as John the Baptist, Louis, Roch, and Nicholas.
Hans Tietze. "Bozzetti di Jacopo Tintoretto." Arte veneta 5 (1951), pp. 61–63, figs. 58, 59 (overall and x-ray detail).
Rodolfo Pallucchini. "Un capolavoro del Tintoretto: la Madonna del doge Alvise Mocenigo." Arte veneta 8 (1954), pp. 224, 226, fig. 238, dates it about 1576; notes that the figure of the doge is similar to that, in reverse, in a picture by Tintoretto in the Samuel H. Kress Foundation, New York (now National Gallery of Art, Washington), which he dates about 1573, and that the figures of both the doge and Saint Louis are similar to those in a tapestry altar frontal dated 1571 (Museo Marciano, Venice).
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 176; vol. 2, pl. 1318.
P[aul]. Wescher. "I ritratti del Doge Girolamo Priuli di Jacopo Tintoretto." Arte veneta 11 (1957), p. 207 n. 1, calls it a "modello".
Rodolfo Pallucchini in Enciclopedia universale dell'arte. 13, Venice, 1965, col. 950.
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 169 [rev., enl. ed., 1989].
Pierluigi De Vecchi in L'opera completa del Tintoretto. Milan, 1970, pp. 127–28, no. 261e, ill., calls it a sketch for the painting in the Palazzo Ducale, which he dates 1581–84.
Anna Pallucchini. "L'abbozzo del 'Concilio di Trento' di Jacopo Tintoretto." Arte veneta 24 (1970), p. 97.
James S. Dearden. "John Ruskin's Art Collection—A Centenary." Connoisseur 178 (September 1971), p. 31.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 200, 537, 538, 606.
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. 69–71, pls. 84, 85 (overall and detail), date it 1577 or slightly later; call the saints on the right John the Baptist, Louis of Toulouse, unknown, and possibly Gregory; state that the figure of Saint Mark [see Ref. Wehle 1949] was apparently painted over by Tintoretto himself, and that recent cleaning has revealed two figures in the sky painted over by a much later artist, possibly additional ideas for the figure of Saint Mark.
Paola Rossi. "I ritratti." Jacopo Tintoretto. 1, Venice, [1974?], p. 125.
Hubert von Sonnenburg. "Beobachtungen zur Arbeitsweise Tintorettos." Maltechnik/Restauro 3 (1974), pp. 133–43, ill. in black and white (overall, details, x-ray, reconstructions) and in color (detail), believes that Tintoretto probably made it as an entry in a contest for the decoration of the Sala del Collegio in the Palazzo Ducale, that he made changes at that time to comply with requests from the commissioners, and that he then abandoned the picture; discusses the results of a recent detailed technical examination, noting some evidence of workshop participation.
Nicholas Penny. "John Ruskin and Tintoretto." Apollo 99 (April 1974), p. 272, fig. 10.
Staale Sinding-Larsen. Christ in the Council Hall: Studies in the Religious Iconography of the Venetian Republic. Rome, 1974, pp. 87–93, pls. XXI (overall), XXII (detail, infrared), XXIIIa (detail, x-ray), fig. 1 (diagram), dates it between 1571 and 1577, and possibly before December 1574; calls it a modello made for the authorities, not a workshop sketch; discusses the iconography, stating that it commemorates the victory in the battle of Lepanto (October 7, 1571); identifies the figure appearing behind the doge as Victory.
Paola Rossi. I disegni di Jacopo Tintoretto. Florence, 1975, p. 38, fig. 166.
Denys Sutton. "Robert Langton Douglas, Part III, XIV: Agent for the Metropolitan Museum." Apollo 109 (June 1979), p. 416, fig. 12.
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, pp. 104–5, 166, no. 35, ill. (color), date it about 1577 and call it a preliminary study for the painting in the Palazzo Ducale.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 277–78, fig. 499 (color).
Staale Sinding-Larsen. "L'immagine della repubblica di Venezia." Architettura e utopia nella Venezia del Cinquecento. Exh. cat., Palazzo Ducale, Venice. Milan, 1980, p. 49 n. 15.
André Corboz. "L'immagine di Venezia nella cultura figurative del '500." Architettura e utopia nella Venezia del Cinquecento. Exh. cat., Palazzo Ducale, Venice. Milan, 1980, p. 66, dates it about 1577.
Rodolfo Pallucchini and Paola Rossi. "Le opere sacre e profane." Tintoretto. 2, 2 vols., Venice, 1982, vol. 1, pp. 95, 198, 222, no. 324; vol. 2, fig. 419, date it 1571–74.
Wolfgang Wolters. Der Bilderschmuck des Dogenpalastes. Wiesbaden, 1983, pp. 121–22, figs. 100 (overall), 101 (x-ray detail), dates it 1570–77.
J[eroen]. Giltay. Schilderkunst uit de eerste hand: Olieverfschetsen van Tintoretto tot Goya. Exh. cat., Museum Boymans-van Beuningen. Rotterdam, 1984, pp. 34, 36–37, no. 1, ill. p. 35 and colorpl. II, dates it about 1571–77.
Terisio Pignatti and Francesco Valcanover. Tintoretto. Milan, 1985, p. 48, fig. 63.
Stefania Mason Rinaldi in Venezia e la difesa del Levante da Lepanto a Candia, 1570–1670. Exh. cat., Palazzo Ducale. Venice, 1986, pp. 14, 18 n. 7, pp. 28–29, no. 14, ill., dates it 1571–74.
Paola Rossi and Giovanna Nepi Sciré in Jacopo Tintoretto: ritratti. Exh. cat., Gallerie dell' Accademia, Venice. Milan, 1994, pp. 32, 44, 46, ill. p. 47 [German ed., "Jacopo Tintoretto: Portraits," pp. 32, 45, 47, ill.].
Tomas Nichols in The Dictionary of Art. 31, New York, 1996, p. 15, dates it about 1571–74; calls it a preparatory study, noting that it differs too greatly from the final painting to be considered a working model.
Roland Krischel. Jacopo Tintoretto, 1519–1594. Cologne, 2000, pp. 88, 91, figs. 74, 75, 78 (color, overall and details).
Linda Borean. La quadreria di Agostino e Giovan Donato Correggio nel collezionismo veneziano del Seicento. Udine, 2000, pp. 87–88 n. 67, p. 175, identifies it with a work included in the Correggio inventory of 1646–74 [see Ref.].
Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, p. 265.
Anne Corneloup. "Le corps de saint Marc et celui de Rangone: ou le principe d''imitatio' selon Tintoret." Studiolo 2 (2003), p. 127, fig. 27.
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 32–34, figs. 29 (color), 30 (before restoration), 31 (x-radiograph).
Tracy E. Cooper. Palladio's Venice: Architecture and Society in a Renaissance Republic. New Haven, 2005, pp. 193, 332 n. 40, fig. 202 (color).
Miguel Falomir et al. in Tintoretto. Exh. cat., Museo Nacional del Prado. Madrid, 2007, pp. 154, 324, 328–29, 333, 411–12, no. 37, ill. pp. 286 and 325 (color, overall and detail), figs. 167 (x-radiograph), 168–69 (color details).
Robert Wald in Frederick Ilchman. Titian, Tintoretto, Veronese: Rivals in Renaissance Venice. Exh. cat., Museum of Fine Arts, Boston. Boston, 2009, p. 77, fig. 32 (color detail).