Saint Francis before the Pope (The Approval of the Franciscan Rule)

Nashville, TN, Frist Center for the Visual Arts, Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, October 31, 2014 - January 25, 2015.

Nashville, Frist Center for the Visual Arts, Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, October 31, 2014 - January 25, 2015, no. 32 (entry by Donal Cooper).

Cleveland Museum of Art, The Caporali Missal: A Masterpiece of Renaissance Illumination, February 17 - June 2, 2013, no. 14 (entry by Virginia Brilliant)

Stefan Weppelmann, Spinello Aretino e la pittura del Trecento in Toscana, Florence, 2011, pp. 70, 107-8, 169-74, fig. 29.

Andrea De Marchi, "Il polittico di Sassetta per San Francesco a Sansepolchro perlustrato," Prospettiva, no. 139-40 (2010), pp. 124, 126, 129.

Keith Christiansen, "Sassetta a Century Later" in Sassetta: The Borgo San Sepolcro Altarpiece, ed. Machtelt Israëls, 2 vols, Leiden, 2009, vol. 1, p. 33 n. 23.

Christa Gardner von Teuffel, "Sassetta's Franciscan Altarpiece at Borgo San Sepolcro: Precedents and Context" in Sassetta: The Borgo San Sepolcro Altarpiece, ed. Machtelt Israëls, 2 vols, Leiden, 2009, vol. 1, p. 219 n. 47.

Stefan Weppelmann, "A Saint Francis 'in un Trono' at Città di Castello: Considerations on a Presumed Model for Sassetta's Borgo San Sepolchro Altarpiece" in Sassetta: The Borgo San Sepolcro Altarpiece, ed. Machtelt Israëls, 2 vols, Leiden, 2009, vol. 1, pp. 231–35, 238, 240–41, fig. 186.

Michel Laclotte, "Autour de Starnina, de Lucques à Valence" in Intorno a Lorenzo Monaco: Nuovi studi sulla pittura tardogotica (Atti del convegno Intorno a Gentile da Fabriano e a Lorenzo Monaco), ed. Daniela Parenti and Angelo Tartuferi, Livorno, 2007, pp. 74-75.

Donal Cooper, “Le tombe del Beato Ranieri a Sansepolcro e del Beato Giacomo a Città di Castello” Arte e santità francescana nella terra altotiberina prima di Sassetta,” in Il Beato Ranieri nella storia del francescanesimo e della terra altrotiberina,” Sansepolcro, 2006, pp. 118–120, 131, fig. 10.

Stefan Weppelmann, Spinello Aretino und die toskanische Malerei des 14. Jahrhunderts, Florence, 2003, pp. 75, 116, 168–72, cat. 29, figs. 8 (detail) and 29.

Donal Cooper, “The Lost Model for Sassetta’s Sansepulcro Polyptych,” Apollo 154 (April 2001), pp. 23–24, 27–29 nn. 6–10, 15–17, 21, 45, 49–50, fig. 2.

Donal Cooper, “Franciscan Choir Enclosures and the Function of Double-Sided Altarpieces in Pre-Tridentine Umbria,” Journal of the Warburg and Courtauld Institutes 64 (2001), pp. 21, 25 n. 69, fig. 16.

Armando Ottaviano Quintavalle, La Regia Galleria di Parma, Rome, 1939, p. 180, under no. 452.

René Brimo, Art et gout: L’Evolution du gout aux Etats-Unis d’après l’histoire des collections, Paris, 1938, p. 92.

Armando Ottaviano Quintavalle, “Precisioni e restauri nella riordinata Galleria di Parma,” Bollettino d’arte 31 (1937), p. 230.

Bernard Berenson, Pitture italiane del Rinascimento, Milan, 1936, p. 471.

The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1935, p. 20.

Art Institute of Chicago, A Century in Progress, June 1 - November 1, 1934, no. 38.

Art Institute of Chicago, A Century of Progress, June 1 - November 1, 1933, no. 96.

Daniel Catton Rich, “The Paintings of Martin A. Ryerson,” Bulletin of the Art Institute of Chicago 27 (1933), p. 12.

bequeathed to the Art Institute, 1933.

Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 348.

Ugo Procacci, review of Spinello Aretino by György Gombosi, in Rivista d’arte 11 (1929), p. 276.

Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpublished manuscript, Ryerson Library, The Art Institute of Chicago, 1926, pp. 11–12.

György Gombosi, Spinello Aretino: Eine stilgeschichtliche Studie über die florentinische Malerei der ausgehenden XIV. Jahrhunderts, Budapest, 1926, pp. 39–40, p. 135.

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 160, no. 2078.

The Art Institute of Chicago, The Handbook of Sculpture, Architecture, and Paintings, 1923, p. 74.

Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols., The Hague, 1923–38, vol. 3, 1924, p. 606 n. 1.

The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 74.

The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, 1920, p. 64.

R. Wyer, “Two Panels by Spinello Aretino,” Art in America 8, 4 (1920), p. 211 n. 1.

Fogg Art Museum, Harvard University, Collection of Medieval and Renaissance Paintings, Cambridge, Massachusetts, 1919, p. 41.

Frederick Mason Perkins, “Una tavola d’altare di Spinello Aretino,” Rassegna d’arte 18 (1918), pp. 5–6 (ill.).

Private collection, Città di Castello, Umbria, possibly that of Count Donino Pierleoni (according to Frederick Mason Perkins, “Una tavola d’altare di Spinello Aretino,” Rassegna d’arte 18 (1918), p. 6 n. 4 and Giovanni Magherini Graziani, L’arte a Città di Castello, Città di Castello, 1897, p. 159 n. 5)

The Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture, and Architecture, August 1917, p. 166.

sold by Morison to Martin A. Ryerson (d. 1932), Chicago, 1916 (according to a letter from Morison to Ryerson of February 16, 1916, Archives, The Art Institute of Chicago)

intermittently on loan to the Art Institute from 1916

sold by a dealer in Città di Castello to Horace Morison, Boston, by 1915 (according to Frederick Mason Perkins, see above

a letter from Morison to Martin A. Ryerson of December 17, 1915, indicates that Morison owned the painting by that time, Archives, The Art Institute of Chicago)

Christa Gardner von Teuffel, “Niccolò di Segna, Sassetta, Piero della Francesca and Perugino: Cult and Continuity at Sansepulcro,” Städel Jahrbuch 17 (1999), pp. 190, 192, 206–7 n. 145, fig. 63.

Andrea De Marchi, “Maestri gotici,” in Oro. Maestri gotici e Lucio Fontana, Turin, 1998, p. 42 n. 14.

Christopher Lloyd, with contributions by Margherita Andreotti, Larry J. Feinberg, and Martha Wolff, Italian Paintings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection, Chicago, 1993, pp. 222–25 (ill.).

James R. Banker, “The Program for the Sassetta Altarpiece in the Church of S. Francesco in Borgo S. Sepolcro,” I Tatti Studies 4 (1991), pp. 26, 53–54, doc. 5.

Miklós Boskovits, Pittura fiorentina alla viglia del Rinascimento, 1370–1400, Florence, 1975, pp. 146–47, 249 n. 244, 434, fig. 513.

Hendrik William van Os, “St. Francis of Assisi as a Second Christ in Early Italian Painting,” Simiolus 7 (1974), pp. 125 n. 25, 127, fig. 14.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Massachusetts, 1972, pp. 192, 398, 571.

Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, 2 vols., London, 1963, vol. 1, p. 203.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 439–40.