F. Mason Perkins. "Some Sienese Paintings in American Collections: Part One." Art in America 8 (August 1920), p. 200, ill. p. 201, as an apostle; attributes it to the school of Ugolino; as in the Blumenthal collection.
Raimond van Marle. "The Sienese School of the 14th Century." The Development of the Italian Schools of Painting. 2, The Hague, 1924, p. 111, attributes it to a close disciple of Ugolino.
Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. XVII, calls it "An Apostle" and attributes it to an anonymous artist very near Ugolino da Siena; states that a Saint John the Baptist in the collection of F. Mason Perkins (now Sacro Convento di S. Francesco, Assisi) comes from the same altarpiece.
Raimond van Marle. "La scuola senese del XIV secolo." Le scuole della pittura italiana. 2, The Hague, 1934, p. 116.
Federico Zeri. Letter. September 6, 1957, attributes it to Segna and identifies it as part of the same polyptych as the Madonna and Child and Saints Benedict and Silvester Gozzolini (MMA, 24.78a–c).
Federico Zeri. "Un polittico di Segna di Bonaventura." Paragone no. 103 (1958), pp. 63–66, pl. 44b, attributes it to Segna and identifies it as part of the same altarpiece as the MMA Madonna and Child and Saints Benedict and Silvester Gozzolini and the Perkins Saint John the Baptist; 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, lists it as by Segna, and as companion to the other MMA panels and to the Perkins Saint John the Baptist.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 186, 459, 608, call the figure an anonymous male saint.
James H. Stubblebine. "The Role of Segna di Buonaventura in the Shop of Duccio." Pantheon 4 (July–August, 1972), pp. 272, 274–77, fig. 3, accepts Zeri's reconstruction of the altarpiece [see Ref. 1958]; dates it to the last decade of the painter's life.
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].
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; vol. 2, fig. 328, dates it to the 1320s and 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]; identifies this panel and the Perkins Saint John the Baptist 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. 88–90, pl. 2, date the polyptych 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.
Federico Zeri. La collezione Federico Mason Perkins. Turin, 1988, pp. 42, 45, fig. 2, under no. 12.
Joanna Cannon. "The Creation, Meaning, and Audience of the Early Sienese Polyptych: Evidence from the Friars." Italian Altarpieces, 1250–1550: Function and Design. Oxford, 1994, p. 44 n. 17.
H[ayden]. B. J. Maginnis in The Dictionary of Art. 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. Exh. cat., Santa Maria della Scala, Siena. Milan, 2003, pp. 314–15.
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.