Antonio Morassi. A Complete Catalogue of the Paintings of G. B. Tiepolo. London, 1962, pp. 1, 34, 70, considers this work part of a series of four which he dates about 1740–50; wrongly associates them with some oil sketches seen by Waagen in the Cheney collection.
Highly Important Pictures by Old Masters. Christie's, New York. June 23, 1967, pp. 59, 71, ill., discusses the provenance and mentions the artist's wife, Cecilia Tiepolo, as a former owner.
Anna Pallucchini in L'opera completa di Giambattista Tiepolo. Milan, 1968, p. 121, no. 228, fig. 228 D, associates it with the series seen by Waagen in the Cheney collection; dates the series about 1755, noting that the agility of execution suggests a date after Würzburg; points out that Morassi, in the 1955 edition of his book, dates the Heinemann picture [now MMA 1997.117.8, pendant to the present work] 1750–60.
Mercedes Precerutti Garberi. Affreschi settecenteschi delle ville venete. Milan, 1968, p. 141 [English ed., "Frescoes from Venetian Villas," London, 1971, p. 127], repeats Morassi's (1962) confusion with the series in the Cheney collection; relates the four pictures to a similar series of four ovals of allegorical figures attributed to Giovanni Battista's workshop (MMA 43.85.21–24).
All the Paintings of the Rijksmuseum in Amsterdam. Amsterdam, 1976, p. 538.
Bernard Aikema in Tiepolo in Holland: Works by Giambattista Tiepolo and His Circle in Dutch Collections. Exh. cat., Museum Boijmans Van Beuningen. Rotterdam, 1996, p. 158, under no. 66, observes that the figures probably depict Virtues, but their exact identity is unclear, although this figure with the urn may represent Temperance; dates them about 1750 and discusses their provenance.
Bernard Aikema in Italian Paintings from the Seventeenth and Eighteenth Centuries in Dutch Public Collections. Florence, 1997, p. 159–61 n. 11, under no. 182.
Keith Christiansen in "Recent Acquisitions, A Selection: 1996–1997." Metropolitan Museum of Art Bulletin 55 (Fall 1997), p. 41, ill. (color), finds the attributes of the figures too general to allow specific identification; observes that an inventory, soon to be published by Giandomenico Romanelli, includes a group of overdoors described as "chiaroscuro bas-reliefs" that formed part of Tiepolo's cycle of decoration for the Cornaro Palace, San Polo, Venice; suggests a date somewhat earlier than 1750.
Giandomenico Romanelli. "Giambattista Tiepolo e i Cornaro di San Polo." Giambattista Tiepolo nel terzo centenario della nascita. Ed. Lionello Puppi. Padua, 1998, vol. 1, p. 222, publishes an eighteenth-century inventory of the palazzo Cornaro that includes, in the sala degli specchi, "Quattro sopraporte di chiaro scuro bassorilievo. Del Tiepolo".
Everett Fahy in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 90–93, no. 26, ill. (color), identifies the series with the four chiaroscuro bas-relief overdoors from the Sala degli Specchi in the Palazzo Cornaro mentioned in an eighteenth-century inventory; dates them about 1742–45.
Massimo Favilla and Ruggero Rugolo. "Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo." Arte veneta 69 (2012), p.83, figs. 22, 26 (color), reconstruct the sala degli specchi in the Palazzo Cornaro, publishing documents relating to the decoration and dismantling, and demonstrating that the principal canvases by Tiepolo decorating the room were four paintings in the National Gallery, London, a ceiling in the National Gallery of Australia, Canberra, and possibly the ovals in the Rijksmuseum and the MMA (mistakenly excluding 1997.117.8, based on the incorrect dimensions given in Fahy 2005).