Enea Arnaldi. Descrizione delle architetture, pitture, e scolture di Vicenza. repr., 1982. Vicenza, 1779, part 2, p. 72, praises the decoration of the palazzo belonging to Giorgio Marchesini.
Pompeo Molmenti. G. B. Tiepolo: la sua vita e le sue opere. Milan, , p. 95, notes that the frescoes in the palazzo Marchesini have been detached from the walls and sold to foreigners.
Eduard Sack. Giambattista und Domenico Tiepolo: Ihr Leben und Ihre Werke. Hamburg, 1910, vol. 2, p. 181, notes that the frescoes mentioned by Arnaldi [see Ref. 1779] in the palazzo Marchesini have been removed and sold.
Antonio Morassi. A Complete Catalogue of the Paintings of G. B. Tiepolo. London, 1962, pp. 33, 65, calls 43.85.21–24 "originally probably overdoors" [sic, for 43.85.17–20?]; tentatively dates the entire group of frescoes about 1750–60 and attributes all of them to Giovanni Domenico, possibly with the help of assistants for the purely decorative parts, working from designs by Giovanni Battista and under his direction; states that they are said to come from a villa on the Brenta but that there is no information on their exact provenance; includes the frescoes formerly in the palazzo Marchesini as a separate entry and states that their present whereabouts are unknown.
Anna Pallucchini in L'opera completa di Giambattista Tiepolo. Milan, 1968, p. 136, lists the entire group under works of various attribution, noting that Morassi [see Ref. 1962] attributes only the designs to Giovanni Battista; lists the frescoes formerly in the palazzo Marchesini separately, under insufficiently documented works.
Mercedes Precerutti Garberi. Affreschi settecenteschi delle ville venete. Milan, 1968, pp. 141–42, pl. 93 [English ed., "Frescoes from Venetian Villas," London, 1971, pp. 127–28, pl. 93], tentatively identifies the subjects of the four oval frescoes (43.85.21–24) as Vanity, Fortitude, Glory, and Wisdom, and relates them to a similar series of four ovals of allegorical figures by Giovanni Battista (MMA, 1984.49 and 1997.117.8; Rijksmuseum, Amsterdam, A3437 and A3438); discusses Tiozzo's [see Ref. 1968] suggestion that the frescoes come from the villa Valier; notes differences in handling and quality in the various frescoes; finds the style of the entire group close to Giovanni Battista's mature works of 1754–57.
Clauco Benito Tiozzo. Gli affreschi delle ville del Brenta. Padua, 1968, p. 86, suggests that the frescoes may come from the villa Valier alla Chitarra.
Adriano Mariuz. Giandomenico Tiepolo. Venice, , p. 128, attributes 43.85.21–24 to Giovanni Domenico and dates the entire group of frescoes about 1757–60.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 197, 543, 608, as from the "school, shop, or studio" of Giovanni Battista Tiepolo; call it "Allegorical Figure".
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. 63–65, pl. 79, find the style of the frescoes close to Giovanni Battista's of the 1750s, and attribute them to pupils or assistants, possibly after a design by the master; add that 43.85.21–24 are of inferior quality and are in the manner of Giovanni Domenico; state that Fortitude is usually depicted with a column rather than an obelisk or the corner of a pyramid, as here, and that the work "may therefore symbolize the Glory of Princes, according to baroque iconography derived from a medal (coin?) of the emperor Hadrian".
Maria Santifaller. "Die Gruppe mit der Pyramide in Giambattista Tiepolos Treppenhausfresko der Residenz zu Würzburg." Münchner Jahrbuch der bildenden Kunst, 3rd ser., 26 (1975), pp. 200, 206–7 n. 33, fig. 9, attributes it to Giovanni Domenico; calls it "Fürstenglorie" and notes that it follows the symbolism for the Glory of Princes outlined in Ripa's "Iconologia"; states that it probably comes from the villa Mira.
George Knox. Giambattista and Domenico Tiepolo: A Study and Catalogue Raisonné of the Chalk Drawings. Oxford, 1980, vol. 1, p. 309, no. P.170, includes the series in a checklist of paintings by Giovanni Domenico Tiepolo.
Mauro Cova in Palazzo dei Conti Valle: annotazioni per un tesoro ritrovato. Vicenza, 1986, pp. 22–23, 26–27, 31 nn. 1, 4, states that one of the rooms in the newly restored palazzo dei Conti Valle [palazzo Marchesini] has a partially intact ceiling decoration with an allegorical subject representing Time and Truth and also originally included four figures of virtues; dates the entire decorative cycle about 1743 and compares it with monochromes by Tiepolo in the cappella sagredo in San Francesco della Vigna, Venice; erroneously implies that the frescoes were removed sometime between the two world wars.
Vittorio Sgarbi in Palazzo dei Conti Valle: annotazioni per un tesoro ritrovato. Vicenza, 1986, pp. 7–9, dates the frescoes between 1747 and 1750.
Vittorio Veller in Palazzo dei Conti Valle: annotazioni per un tesoro ritrovato. Vicenza, 1986, p. 16.
Mauro Cova. "Vicenza: Palazzo Valle-Marchesini-Sala, scoperta e restauro di un ciclo di affreschi (G.B. Tiepolo - G. Mengozzi-Colonna)." Arte veneta 41 (1987), pp. 258–59, mistakenly states that the frescoes were detached from the walls in the 1920s.
Franco Barbieri. Vicenza, città di palazzi. Milan, 1987, pp. 115–16.
Mauro Cova in I Tiepolo e il Settecento vicentino. Exh. cat., Basilica palladiana, Vicenza. Milan, 1990, p. 37, under no. 1.3.2, states that 43.85.21–24 come from a room in the palazzo Marchesini, where the restoration of 1986 has revealed traces of their original location.
Rita Menegozzo. Nobili e Tiepolo a Vicenza. Vicenza, 1990, pp. 73, 77, 81, 83, 85–86.
Massimo Gemin and Filippo Pedrocco. Giambattista Tiepolo: i dipinti, opera completa. Venice, 1993, p. 371.
Ismaele Chignola. "Gli affreschi di Tiepolo a palazzo Valle Marchesini: nuovi elementi per una datazione." Arte veneta 61 (2004), pp. 233, 239 n. 3, dates the palazzo Marchesini frescoes to 1760.