Liber Veritatis; or A Collection of Prints, After the Original Designs of Claude Le Lorrain . . . Executed by Richard Earlom . . . 1, Boydell ed. London, , p. 16, no. 71, publishes Earlom's print after Claude's Liber Veritatis record of this painting (no. 71) and describes it as "The Trojan Women Firing the Grecian Fleet . . ."; notes that the picture was made for "Sig. Gieronimo Farnese" and provides subsequent provenance.
John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. 8, London, 1837, p. 229, no. 71, as "The Trojan Women setting Fire to the Grecian Fleet".
Léon de Laborde. "Notes manuscrites de Claude Gellé, dit Le Lorrain: Extraites du recueil de ses dessins." Archives de l'art français: Recueil de documents inédits relatifs à l'histoire des arts en France 1 (1851–52), p. 447, no. 71.
[Gustav Friedrich] Waagen. Galleries and Cabinets of Art in Great Britain. London, 1857, p. 163, describes this picture, then in the collection of Abraham Robarts, Hill Street, Berkeley Square, London.
Mme Mark Pattison [Lady Dilke] J. Rouam. Claude Lorrain, sa vie et ses oeuvres d'après des documents inédits. Paris, 1884, pp. 213, 234, no. 71, identifies the subject as "Les Troyennes incendiant leurs vaisseaux" [The Trojan Women Setting Fire to their Fleet].
Owen J. Dullea. Claude Gellée le Lorrain. London, 1887, p. 126, as "Trojan Women burning the Ships".
William Gibson. "Mr. John Robarts' Collection of Pictures." Apollo 8 (September 1928), p. 119, ill. p. 115, as "The Trojan Women Setting Fire to the Greek Ships".
Michael Kitson. "The 'Altieri Claudes' and Virgil." Burlington Magazine 102 (July 1960), p. 315, dates it 1643 and identifies the subject as "The Trojan Women burning their Ships," stating that it is Claude's first use of a subject from the Aeneid; notes that there is little doubt that Claude chose his Aeneid subjects himself, "though naturally in consultation with his patrons," probably because they fitted in with the "sublime and literary conception of landscape which he had evolved at the time".
Marcel Rothlisberger. "New Light on Claude Lorrain." Connoisseur 145 (March–June 1960), pp. 60–61, describes the subject as "the Trojan women in the act of setting fire to their own fleet" and dates it 1643; claims that Girolamo Farnese, returning to Rome after his difficult years as nuncio in the Helvetian cantons and in Rhaetia, commissioned this picture, which tells of Aeneas' hardship during his travels.
Marcel Röthlisberger. "The Subjects of Claude Lorrain's Paintings." Gazette des beaux-arts, 6th ser., 55 (April 1960), p. 222.
Theodore Rousseau Jr. The Splendid Century: French Art, 1600–1715. Exh. cat.Washington, 1960, supplement, p. 9, no. 179.
Marcel Röthlisberger. Claude Lorrain: The Paintings. New Haven, 1961, vol. 1, pp. 215–16; vol. 2, fig. 144, notes that this is the only known representation of this scene, taken from Virgil's Aeneid (V, 604–95).
Michael Kitson. "Claude Lorrain: The Paintings." Times Literary Supplement (May 31, 1963), p. ? [reprinted in Kitson, M. Studies on Claude and Poussin, London, 2000, p. 262].
Georg Kauffmann. "Marcel Röthlisberger, 'Claude Lorrain, The Paintings; Vol. 1: Critical Catalogue'." Kunstchronik 9 (September 1964), p. 257, notes that this picture combines motives from Peruzzi and Raphael.
Marcel Roethlisberger. Claude Lorrain: The Drawings. Berkeley, 1968, vol. 1, pp. 215–16, refers to it as "Coast View with the Trojan Women Setting Fire to their Fleet," done in 1643 for Girolamo Farnese; publishes Claude's record of this painting, Liber Veritatis no. 71 (cat. no. 527; vol. 2, pl. 527); defends his identification of Aeneid V as the source for the subject and observes that engravings after Raphael and Giulio Romano were models for the richly sculptured ships.
Doretta Cecchi in L'opera completa di Claude Lorrain. Milan, 1975, p. 103, no. 135, ill. p. 102, colorpls. 12–13, dates it 1643.
Michael Kitson. Claude Lorrain: Liber Veritatis. London, 1978, p. 96, publishes the related drawing Liber Veritatis 71 and comments on the rarity of the subject; notes that the drawing corresponds exactly to the painting except that the ships are enlarged and some masts and spars are shortened and omitted at the left.
H. Diane Russell. Claude Lorrain, 1600–1682. Exh. cat., National Gallery of Art. Washington, 1982, pp. 56, 86, 94 n. 29, pp. 147, 456–57, no. 30, ill. p. 146, comments on Claude's effort here to treat the scene with historical accuracy, noting the influence of prints by the school of Raphael; remarks that the physiognomies of the women strongly recall those in late paintings by Raphael and of his pupil Giulio Romano.
Pierre Rosenberg. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art. 1982, p. 360, no. 4, ill. [French ed., La peinture française du XVIIe siècle dans les collections américaines, Paris, 1982].
Marcel Roethlisberger. Im Licht von Claude Lorrain: Landschaftsmalerei aus drei Jahrhunderten. Exh. cat., Haus der Kunst München. Munich, 1983, pp. 139, 286.
Christopher Wright. The French Painters of the Seventeenth Century. Boston, 1985, p. 163, calls it "Marine with the Trojans Burning their Boats".
Deborah Krohn et al. in From El Greco to Cézanne: Masterpieces of European Painting from the National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York. Exh. cat., National Gallery Alexandros Soutzos Museum. Athens, 1992, p. 307, no. 25, ill. (color) [catalogue section unpaginated].
Patrizia Cavazzini in Nature et idéal: le paysage à Rome, 1600–1650. Exh. cat., Grand Palais, Galeries nationales. Paris, 2011, pp. 226–27, no. 82, ill. (color).