Antonio Morassi. G. B. Tiepolo: His Life and Work. London, 1955, fig. 55, as "Allegory" and "Allegorical figure," in a private collection, Zurich; dates it about 1750–60.
Antonio Morassi. A Complete Catalogue of the Paintings of G. B. Tiepolo. London, 1962, p. 70, dates it about 1740–50; mistakenly links it, together with the other work in the MMA and the two in the Rijksmuseum, Amsterdam, with a series mentioned by Waagen ("Art Treasures," vol. 4, 1857, p. 173) as in the Cheney collection.
Anna Pallucchini in L'opera completa di Giambattista Tiepolo. Milan, 1968, pp. 120–21, no. 228A, ill., repeats Morassi's [see Ref. 1962] confusion with the series in the Cheney collection; dates the four pictures about 1755, after the Würzburg period.
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, favors a date of about 1750 for the series; states that the figures probably represent virtues, but that their exact identities are unclear; discusses the confusion with the series mentioned by Waagen.
Bernard Aikema in Italian Paintings from the Seventeenth and Eighteenth Centuries in Dutch Public Collections. Florence, 1997, pp. 159–60, under no. 182.
Keith Christiansen in "Recent Acquisitions, A Selection: 1996–1997." Metropolitan Museum of Art Bulletin 55 (Fall 1997), p. 41, ill. (color), suggests that the series may date from before 1750; notes the forthcoming publication of an inventory that includes four overdoors described as "chiaroscuro bas-reliefs" from the palazzo Cornaro, Venice.
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, 92–93, fig. 3, 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; gives incorrect dimensions for this work.
Massimo Favilla and Ruggero Rugolo. "Lo specchio di Armida: Giambattista Tiepolo per i Corner di San Polo." Arte veneta 69 (2012), p. 83, fig. 23 (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 this work, based on the incorrect dimensions given in Fahy 2005).