References Francesco di Filippo del Pugliese. Will of Francesco del Pugliese . February 28, 1502 [Archivio di Stato, Florence, Rogiti di Ser Lorenzo di Zanobi Violi, Protocollo dal 14 Giugno, 1500, al 20 Maryo, 1503–4. Segnato, V. 356; published in Ref. Horne 1915, Burlington Magazine], lists it as by Botticelli.Il libro . [ca. 1516–30], unpaginated [two copies in the Biblioteca Nazionale Centrale di Firenze: MS. Magl. XIII, 89 and MS. Magl. XXV, 636; published in Carl Frey, ed., "Il libro di Antonio Billi," Berlin, 1892, p. 29], mentions a picture of Saint Jerome among "quadri di cose pichole" by Botticelli.Manuscript . [ca. 1542–56], fol. 85 recto [Biblioteca Nazionale Centrale di Firenze, MS. Magl. XVII, 17; published in Carl Frey, ed., "Il codice Magliabechiano," Berlin, 1892, p. 105], mentions it.Nuova guida ovvero descrizione storico, artistico, critica della città e contorni di Firenze . Florence, 1842, p. 399, mentions it as a work by Castagno.Zeitschrift für bildende Kunst 2 (1867), p. 279, recognizes it as probably the original of a copy in the Balbi collection, Genoa, but ascribes it to Filippino Lippi.Der Cicerone: Eine Anleitung zum Genuss der Kunstwerke Italiens . 3, 3rd ed. Leipzig, 1874, p. 878, calls it probably the original of the copy in the Balbi collection, there ascribed to Filippino Lippi.Kunstkritische Studien über italienische Malerei . 1, Leipzig, 1890, p. 146 n. 1, calls it the original of the Balbi copy and ascribes it to Botticelli.Letter . 1891 [published in "Italienische Malerei der Renaissance im Briefwechsel von Giovanni Morelli und Jean Paul Richter," 1960, p. 580], attributes it to Botticelli.Sandro Botticelli . Munich, [1893?], p. 72, attributes it to Botticelli and dates it to the time of the Saint Augustine in the Galleria degli Uffizi, Florence (1485–95).Sandro Botticelli . London, 1900, pp. 59–60, 116, calls it a work from the school of Botticelli.The Drawings of the Florentine Painters . London, 1903, vol. 1, p. 62, attributes it to Botticelli.Botticelli . London, 1903, p. 157, lists it as a work of Botticelli.The Life and Art of Sandro Botticelli . London, 1904, pp. 136–37, 190, lists it as a work of Botticelli and notes that critics have identified it with the painting mentioned by Antonio Billi [see Ref. 1516–30] and Anonimo Gaddiano [see Ref. 1542–56].Letter to Helen Fry . January 11, 1905 [published in Ref. Sutton 1972, vol. 1, letter no. 149, p. 230], describes a meeting with J. P. Morgan and states "he wants to buy Farinola's Botticelli".Botticelli . Paris, [1906], p. 165, lists it as a work by Botticelli.Alessandro Filipepi commonly called Sandro Botticelli, Painter of Florence . London, 1908, pp. 174–77, ill., attributes it to Botticelli and refers to "an apocryphal letter of the Blessed Eusebius," first printed in Florence in 1490, as the source of the subject.The Florentine Painters of the Renaissance . 3rd ed. New York, 1909, p. 117, attributes it to Botticelli.in Allgemeines Lexikon der bildenden Künstler . 4, Leipzig, 1910, p. 419, lists it as a late work by Botticelli.A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century . 4, London, 1911, p. 270 n. 4, p. 290, call it a replica of the Balbi version, attributed to Filippino Lippi; Douglas attributes it to Botticelli and calls it the original of the copies in the Balbi collection, Genoa, and Abdy collection, Paris (later Benson collection, London).Storia dell'arte italiana . part 1, 7, Milan, 1911, p. 642 n. 1, assigns it to Botticelli's latest period.Letter to Duveen . March 28, 1912, attributes it to Botticelli.Morning Post (December 28, 1912) [reprinted in Ref. Horne 1986], reports that it was offered for sale to the National Gallery, London, but rejected [see Ref. Horne 1986].Catalogue of Italian Pictures at 16, South Street, Park Lane, London and Buckhurst in Sussex collected by Robert and Evelyn Benson . London, 1914, pp. 47–48, no. 25, ill.Metropolitan Museum of Art Bulletin 10 (March 1915), pp. 52, 54–56, ill. p. 39 (cover), gives an extensive account of the Pugliese family, identifying the patron for whom Botticelli painted this picture as Francesco del Pugliese.Burlington Magazine 28 (November 1915), pp. 45–46, ill. p. 44, publishes Pugliese's will of 1502 that bequeaths the picture to the church of Sant' Andrea da Sommaia; notes that in 1519 this will was replaced by another that makes no mention of the work.Metropolitan Museum of Art Bulletin 10 (April 1915), pp. 72–75, ill. (detail), details the history of the Pugliese family in the fifteenth century.Metropolitan Museum of Art Bulletin 10 (May 1915), pp. 101–5, ill. (detail), discusses the life of Francesco del Pugliese.Sandro Botticelli . Berlin, 1921, pp. 157–58, ill. p. 156, attributes it to Botticelli and considers it the original of the Balbi and ex-Abdy copies.Gazette des beaux-arts , 5th ser., 8 (September–October 1923), pp. 183–84, ill. p. 185, attributes it to Botticelli and dates it between 1490 and 1502.Sandro Botticelli . London, 1925, vol. 1, pp. 186, 210–11, 230, 243; vol. 3, pl. CCXXXIX, calls it a very late work by Botticelli, dating it 1498.Botticelli: des Meisters Werke . Berlin, 1926, ill. p. 73, attributes it to Botticelli and dates it about 1490.Botticelli . Paris, 1926, pp. 55, 98, pl. CXXVII, dates it to about the time of the portrait of Lorenzo Lorenzano in the Philadelphia Museum of Art (Johnson Collection).Handbook of the Benjamin Altman Collection . 2nd ed. New York, 1928, pp. 53–55, no. 26, ill.The Development of the Italian Schools of Painting . 12, The Hague, 1931, p. 160, fig. 98, ascribes it to Botticelli and dates it slightly later than the Uffizi Saint Augustine.Italian Pictures of the Renaissance . Oxford, 1932, p. 104.Italian Paintings in America . 2, New York, 1933, unpaginated, pl. 254, ascribes it to Botticelli and dates it about 1500.Lecture . March 9, 1935, attributes it to Botticelli.Filippino Lippi . Vienna, 1935, p. 117, under no. 142, calls it a replica of the Balbi painting, which he lists as a work by Filippino Lippi.Meisterwerke europäischer Malerei in Amerika . Vienna, 1935, p. 327, pl. 52 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 311, pl. 52], attributes it to Botticelli and dates it about 1490.Pitture italiane del rinascimento . Milan, 1936, p. 90.Botticelli . Milan, [1936], p. 169, fig. 148 [French ed., (1937), pp. 177–78, fig. 148], dates it in the first half of the 1490s and hesitantly accepts it as the one mentioned in Pugliese's will [see Ref. 1502]; mentions the picture of Saint Jerome referred to by the Anonimo Gaddiano [see Ref. 1542–56], notes that another such work by an anonymous artist was in the collection of Lorenzo de' Medici, and states that several copies of the composition exist.Botticelli . New York, 1937, p. 22, ill., dates it about 1490.Art Criticism from a Laboratory . Boston, 1938, p. 81.Botticelli . Paris, 1938, pp. 158–59, pl. LXXXVII, accepts it as the one mentioned in Pugliese's will.The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings . New York, 1940, pp. 46–47, ill.Duveen Pictures in Public Collections of America . New York, 1941, unpaginated, no. 104, ill., dates it about 1490-1500.Botticelli . Bergamo, 1942, pp. 40, 45, pl. 142 A, attributes it to Botticelli and tentatively dates it about 1503.Iconography of the Saints in Tuscan Painting . Florence, 1952, col. 529, fig. 607, attributes it to Botticelli.Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art . Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 225, no. 88, colorpl. 88.Botticelli . New York, 1957, p. 124, ill. p. 118 (color), attributes it to Botticelli, dating it about 1490.Tutta la pittura del Botticelli . Milan, 1958, vol. 2, p. 53, pl. 69, attributes it to Botticelli, dating it shortly after 1490.La Galleria Pallavicini in Roma, catalogo dei dipinti . Florence, 1959, pp. 33–34, under no. 18, publishes a copy by Bartolomeo di Giovanni, identifying the MMA picture as the one painted by Botticelli for Francesco del Pugliese.I disegni dei pittori fiorentini . Milan, 1961, vol. 2, p. 111, under no. 580 A, vol. 3, fig. 200, considers a Lehman drawing a contemporary copy after our picture.Italian Pictures of the Renaissance: Florentine School . London, 1963, vol. 1, p. 37; vol. 2, pl. 1087.Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School . New York, 1971, pp. 159–63, ill., list four roughly contemporary copies of the composition and a drawing after it in the Robert Lehman Collection, indicating that the work, though made for a private patron, was well known.Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections . Cambridge, Mass., 1972, pp. 34, 408, 606.Letters of Roger Fry . New York, 1972, vol. 1, p. 230 n. 2 to letter 149 (January 11, 1905).Looking at Pictures with Bernard Berenson . New York, 1974, pp. 186–87, ill., Kiel states that it is mentioned in Pugliese's "final testament of 1519" [but see Ref. Horne 1915, Burlington Magazine], and dates it not earlier than 1490, when Buonacorsi's "Life of Saint Jerome" was published.Memories of Duveen Brothers . London, 1976, pp. 66, 78.Italian Paintings in the Walters Art Gallery . Baltimore, 1976, vol. 1, p. 102, under no. 65, mentions it as the source for the Bartolomeo di Giovanni predella panel in the Walters Art Museum (37.428 A), and dates it 1490–95.Botticelli . New York, 1977, pp. 89–90, fig. 58.Burlington Magazine 119 (March 1977), p. 183, lists it among late works.Cestello, a Cistercian Church of the Florentine Renaissance . New York, 1977, p. 67.Sandro Botticelli . Berkeley, 1978, vol. 1, pp. 120–22, pl. 45; vol. 2, pp. 86–87, no. B78, considers it identical with the picture of Saint Jerome owned by Francesco del Pugliese in 1503, notes that its literary source was an epistle of Eusebius, and dates it about 1494–95.The Metropolitan Museum of Art . New York, 1980, p. 237, fig. 422.Metropolitan Museum of Art Bulletin 41 (Fall 1983), pp. 12–14, fig. 8 (color, overall and detail), dates it probably 1495.in Alessandro Filipepi commonly called Sandro Botticelli, Painter of Florence . reprint of 1908 ed. Florence, 1986, vol. 1, pp. 402–4, Caneva reprints Ref. Brockwell 1912 with Horne's annotations.Art News 89 (Summer 1990), pp. 135–36, ill.The Robert Lehman Collection . 5, New York, 1991, pp. 230–32, fig. 78.1, dates it to "the Savonarolan phase of the artist's later years," between 1491 and 1503, and calls the Lehman drawing (MMA 1975.1.280) a contemporary copy.Mitteilungen des Kunsthistorischen Institutes in Florenz 39 (1995), pp. 399, 401, 402–3 n. 14, p. 408, suggest that Vasari omitted it from his biography of Botticelli because he had not seen it.in L'officina della maniera: Varietà e fierezza nell'arte fiorentina del Cinquecento fra le due repubbliche 1494–1530 . Exh. cat., Galleria degli Uffizi, Florence. Venice, 1996, p. 8.La Toscana al tempo di Lorenzo Il Magnifico: politica, economia, cultura, arte, convegno di studi promosso dalle Università di Firenze, Pisa e Siena . Pisa, 1996, vol. 1, pp. 138–39, pl. 85, identifies it with a picture listed in the 1492 Medici inventory as "San Girolamo quando si comunica," rather than with the one mentioned in Pugliese's will, though acknowledges that Botticelli could have made at least two versions of the subject.Old Master Pictures . Christie's, London. April 25, 2001, p. 138, under no. 106, cites Everett Fahy for observing that it is based on the same cartoon as the version formerly in the Benson and Abdy collections.Italian Panel Painting of the Duecento and Trecento . Washington, 2002, pp. 383, 392 n. 73.Duveen: A Life in Art . New York, 2004, pp. 114, 416.in Art and Love in Renaissance Italy . Exh. cat., The Metropolitan Museum of Art. New York, 2008, p. 303.
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