References Giovanni Battista Cavalcaselle. Unpublished manuscript . n.d. [Biblioteca Marciana, Venice; see Ref. Gardner 1972], attributes it to Spinello Aretino and notes that it came from a confraternity in Sansepolcro; sketches both sides, showing border roundels (now lost) on the recto and the head of Christ in place on the verso; reports that marchese Francesco Ranghiasci-Brancaleoni bought the banner for 100 scudi.A History of Painting in Italy from the Second to the Fourteenth Century . 2, London, 1864, pp. 17–18, as in the collection of the marchese Ranghiacci [sic], Gubbio; states that it was painted for the "Brotherhood of S. Sepolcro at Gubbio," and identifies the iconography on both sides, mentioning a painted architectural border with medallions of saints (now lost).Memorie e guida storica di Gubbio . Città di Castello, 1888, p. 537, no. 212, as still in the Ranghiasci-Brancaleoni collection and not sold in the sale of 1882; attributes it to Parri Spinelli.A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century . 2, repr. 1923. London, 1903, p. 263, Douglas notes that only vestiges of the medallions remain.Metropolitan Museum of Art Bulletin 9 (February 1914), pp. 43–46, ill. (recto), reports that the architectural border with medallions has been cut off and the Flagellation (verso) concealed by a new canvas lining; says the four kneeling figures (recto) belonged to a flagellant order and identifies the design on their robes as an ointment jar; tentatively dates it 1360s and discusses the influence of Orcagna.Rassegna d'arte 18 (1918), p. 6, ill. p. 4 (recto), calls it an altarpiece; dates it between the two Madonnas by Spinello in the Fogg Art Museum, Cambridge, Mass., that is, shortly after 1385.The Development of the Italian Schools of Painting . 3, The Hague, 1924, p. 603, considers it a late work.Spinello Aretino . Budapest, 1926, pp. 37–39, 117, 135, dates it about 1370–79; comments on its similarity to works from the circle of Orcagna and to a Madonna by Spinello in the Statens Museum for Kunst, Copenhagen.Metropolitan Museum of Art Bulletin 23 (November 1928), pp. 274–78, ill. (overall and x-ray details), confirms with x-rays the presence of the Flagellation under the relining; believes that it was probably hung in a chapel and implies a date of 1375.Italian Pictures of the Renaissance . Oxford, 1932, p. 548, lists it as by Spinello and identifies the kneeling figures (recto) as "Brothers of the Misericordia".Pitture italiane del rinascimento . Milan, 1936, p. 471.in Allgemeines Lexikon der bildenden Künstler . 31, Leipzig, 1937, p. 386, lists it as by Spinello.The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings . New York, 1940, pp. 15–16, ill. (recto).L'arte italiana . 2, Florence, 1942, p. 133, fig. 200 (recto).Iconography of the Saints in Tuscan Painting . Florence, 1952, p. XXVII n. 5, col. 717.Metropolitan Museum of Art Bulletin 12 (June 1954), p. 302.Scritti di storia dell'arte in onore di Lionello Venturi . 1, Rome, 1956, p. 34, says it was painted for a confraternity of "Battuti" in Gubbio.Paragone 9 (September 1958), pp. 63–67, figs. 40 (recto), 41 (verso), 43 (reconstruction of verso), identifies a half-lenth figure of Christ on canvas in the Camposanto Teutonico, Vatican City, as the fragment missing from the Flagellation.in Frühchristliche Kunst aus Rom . Exh. cat., Villa Hügel. Essen, 1962, p. 206, under no. 428, fig. 428 (reconstruction of verso), accept Zeri's reconstruction and date it about 1390.Italian Pictures of the Renaissance: Florentine School . London, 1963, vol. 1, pp. 205–6, pls. 404 (recto), 405 (reconstruction of verso).Victoria and Albert Museum Bulletin 2 (January 1966), pp. 12, 19, calls it similar in size and type to a processional banner of about 1369–74 by Barnaba da Modena (Victoria and Albert Museum, London), which also depicts flagellants.I pittori alla corte Angioina di Napoli, 1266–1414 . Rome, 1969, pp. 237, 240, 282 n. 10.Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School . New York, 1971, pp. 43–46, ill. (recto and verso), say it was painted for a flagellant brotherhood in Sansepolcro, and date it about 1375; discuss the relining and identification of the missing section of the Flagellation.Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections . Cambridge, Mass., 1972, pp. 192, 285, 429, 533, 606.Saggi e memorie di storia dell'arte 8 (1972), p. 72, figs. 13 (sketch of recto), 14 (recto), 15 (sketch of verso), 16 (verso), publishes sketches made by Cavalcaselle [see Ref. n.d.] before 1864 showing border roundels (now lost) on the recto, and the head of Christ in place on the verso.Pittura fiorentina alla vigilia del Rinascimento, 1370–1400 . Florence, 1975, pp. 146–47, 249 n. 249, pp. 439, 441, fig. 516 (verso), dates it 1395–1400; believes that the original head of Christ from the Flagellation was replaced by another version on a different piece of canvas shortly after the picture was finished, and that this second head, also by Spinello, is the one identified by Zeri [see Ref. 1958] in the Camposanto Teutonico, Vatican City.Early Music 8 (October 1980), pp. 461–62, fig. 3 (recto), dates it about 1370; compares the angels to those found in trecento and quattrocento scenes of the Assumption and Coronation of the Virgin, and identifies their instruments.The Beginnings of Netherlandish Canvas Painting: 1400–1530 . Cambridge, 1989, p. 5, fig. 8 (recto), calls it one of eight extant trecento paintings on linen, and one of two surviving banners on linen, with the other in the Victoria and Albert Museum [see Ref. Kauffmann 1966].in The Dictionary of Art . 29, New York, 1996, pp. 405–6, dates it 1395–97.in Oro. maestri gotici e Lucio Fontana . Exh. cat., Compagnia di Belle Arti. Milan, 1998, p. 41 n. 14, dates it to the last years of the fourteenth century.The Fabric of Images: European Paintings on Textile Supports in the Fourteenth and Fifteenth Centuries . London, 2000, pp. 36, 40 n. 30.Italian Paintings 1250–1450 in the John G. Johnson Collection and the Philadelphia Museum of Art . Philadelphia, 2004, pp. 142–43 n. 40, follows Zeri and Gardner [see Ref. 1971] in stating that it "seems to have been made around 1375 for a brotherhood in Borgo San Sepolcro".
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