Henry de Chennevières. Les Tiepolo. Paris, [1898?], p. 111, as in the collection of Guillaume Dubufe; attributes it to Giovanni Battista Tiepolo, calls it "la Monarchie espagnole au milieu de l'Olympe," and identifies it as the definitive sketch for one of the vaults in the royal palace in Madrid.
Eduard Sack. Giambattista und Domenico Tiepolo: Ihr Leben und Ihre Werke. Hamburg, 1910, vol. 1, p. 140; vol. 2, pp. 209, 218, no. 492, mentions related works in the Groult collection, Paris; the Capel-Cure collection, Badger Hall, England; and in the museum at Angers.
Max Goering. Letter. April 1938, calls it a sketch for the decoration of the guardroom ("Sala de las Guardias") in the royal palace, Madrid.
Hermann W. Williams Jr. "Tiepolo and His Contemporaries." Metropolitan Museum of Art Bulletin 33 (March 1938), p. 65.
M[ax]. Goering in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 33, Leipzig, 1939, pp. 151, 153.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 286, ill., calls it a sketch for the queen's antechamber in the royal palace; discusses the iconography.
Jean Cailleux. Tiepolo et Guardi. Exh. cat., Galerie Cailleux. Paris, 1952, p. 51, under no. 47.
F[rancisco]. J[avier]. Sánchez Cantón. J. B. Tiepolo en España. Madrid, 1953, p. 17, pl. 14, notes that it is a sketch for the Saleta in the Palacio Real, Madrid; dates it before a second sketch formerly in the Van Dieman Gallery, Berlin (now MMA, 1980.363).
Antonio Morassi. G. B. Tiepolo: His Life and Work. London, 1955, p. 150, calls it one of two sketches for the ceiling of the Saleta.
Paul Wescher. La prima Idea: Die Entwicklung der Ölskizze von Tintoretto bis Picasso. Munich, 1960, p. 51.
Antonio Morassi. A Complete Catalogue of the Paintings of G. B. Tiepolo. London, 1962, pp. 21, 33, 37, fig. 320, dates it about 1764.
Goya and His Times. Exh. cat., Royal Academy of Arts. London, 1963, pp. 4–5, no. 6.
Juan Antonio Gaya Nuño. Pintura Europea Perdida por España de Van Eyck a Tiépolo. Madrid, 1964, p. 92, no. 320.
Anna Pallucchini in L'opera completa di Giambattista Tiepolo. Milan, 1968, p. 132, no. 279d, ill. p. 130, calls it a first idea for the composition, referring to the other sketch (MMA 1980.363) as the true modello.
Winifred Friedman. "A Tiepolo Attribution Problem." Fogg Art Museum Acquisitions (1968), p. 64 n. 15.
Claus Virch. "Dreams of Heaven and Earth: Giambattista and Domenico Tiepolo in the Wrightsman Collection." Apollo 90 (September 1969), pp. 175, 178, states that the final ceiling fresco contains elements from both sketches.
J[ames]. Byam Shaw. "The Biron Collection of Eighteenth-Century Drawings in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), p. 239, finds it difficult to determine which sketch came first.
Oil Sketches by 18th Century Italian Artists from New York Collections. Exh. cat., The Metropolitan Museum of Art. [New York], 1971, p. 9, no. 29, believes it to be the later of the two sketches, since it has more details in common with the final fresco.
Aldo Rizzi. Mostra del Tiepolo. Exh. cat., Villa Manin di Passariano. Vol. , "Dipinti."[Milan], , fig. 80.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 197, 488, 607.
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. 58–59, pl. 64, call it the first sketch; discuss the iconography in detail.
Everett Fahy in The Wrightsman Collection. Vol. 5, Paintings, Drawings. [New York], 1973, pp. 253, 255, fig. 5, finds it impossible to determine which of the two sketches was painted first, stating that "it is most likely that ideas from both sketches were utilized simultaneously in the ceiling fresco and that its composition is essentially an amalgam of the two sketches".
Michael Levey. Giambattista Tiepolo: His Life and Art. New Haven, 1986, pp. 263–64, 295 n. 11, agrees that the chronological sequence of the two sketches cannot be determined; states that "neither can claim to be in itself the 'modello'" and that "for the composition of the ceiling, Tiepolo perhaps eventually utilized them both, and both may have been submitted to the King as preliminary ideas".
Jesús Urrea in Venezia e la Spagna. Milan, 1988, p. 242, fig. 241.
Beverly Louise Brown. Giambattista Tiepolo: Master of the Oil Sketch. Exh. cat., Kimbell Art Museum, Fort Worth. Milan, 1993, pp. 310, 312, no. 56, ill. pp. 135 (color), 310, mentions two early sources that give a detailed explanation of the iconography of the ceiling; believes that the two sketches were probably made simultaneously and both shown to the king as alternative approaches to the subject, and that the king then requested a combination of motifs from each for the final fresco.
George Knox. "Giambattista Tiepolo at Fort Worth." Apollo 139 (December 1993), p. 403, notes that it is difficult to say whether this is "a working 'bozzetto' or the final 'modello'".
Massimo Gemin and Filippo Pedrocco. Giambattista Tiepolo: i dipinti, opera completa. Venice, 1993, pp. 200, 488–89, no. 518a, ill.
Rodolfo Pallucchini. La pittura nel Veneto: il Settecento. Vol. 1, Milan, 1995, pp. 470–71, fig. 736, calls it a first idea, and refers to the other as the definitive sketch.
Keith Christiansen et al. in Giambattista Tiepolo, 1696–1770. Ed. Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 286, 328–30, 332–33, no. 54a, ill. (color) [Italian ed., "Giambattista Tiepolo, 1696–1996," Milan, 1996, pp. 286, 326, 329–30, 332–33, no. 54a, ill. (color)], finds that "what is remarkable is not that two, alternative 'modelli,' each with its own emphasis and compositional dynamics, should have been produced, but that the final ceiling should incorporate elements of both and, at the same time, introduce completely new features".
Giuseppe Pavanello. Canova collezionista di Tiepolo. Monfalcone, 1996, pp. 10, 65 n. 6, ill. p. 15, identifies it as one of four modelli mentioned in a letter to Canova from his agent, Tonioli Moscheni, of April 27, 1793, as available for purchase from Giandomenico Tiepolo.
Chantal Eschenfelder. Giovanni Battista Tiepolo, 1696–1770. Cologne, 1998, p. 133.
Jean-Pierre Babelon and Nicolas Sainte Fare Garnot. Les fresques de Tiepolo. Exh. cat., Musée Jacquemart-André. Paris, 1998, pp. 105, 141, 145, mistakenly illustrates the other version (p. 104, color) in place of this one.
William L. Barcham. "'E chi non potrebbe cantare facilmente Febo?'." Giambattista Tiepolo nel terzo centenario della nascita. Ed. Lionello Puppi. Padua, 1998, vol. 1, pp. 255–56, 258 n. 11; vol. 2, p. 93, fig. 1.
Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, p. 272 n. 6, refer to this work or 1980.363.
Filippo Pedrocco. Giambattista Tiepolo. Milan, 2002, pp. 305–7, no. 277/2.a, ill.
Everett Fahy in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 98–99, fig. 1.
Xavier F. Salomon in Giambattista Tiepolo: "il miglior pittore di Venezia". Ed. Giuseppe Bergamini et al. Exh. cat., Villa Manin di Passariano. Codroipo, 2012, p. 249, no. 46, ill. (color).
Filippo Pedrocco in Giambattista Tiepolo: "il miglior pittore di Venezia". Ed. Giuseppe Bergamini et al. Exh. cat., Villa Manin di Passariano. Codroipo, 2012, p. 33, ill. pp. 145–46 (color, overall and detail).
Andrés Úbeda de los Cobos. The Artist at Court: Giandomenico Tiepolo and His Fantasy Portraits. Exh. cat., Museo de Bellas Artes de Bilbao. n.p., 2014, p. 34, fig. 15 (color).
Abraham Villavicencio García et al. La monarquía hispánica en el arte. Exh. cat., Museo Nacional de Arte. Mexico City, 2015, pp. 312, 375, no. 47, ill. pp. 24, 91 (color, overall and detail).