Saint Augustine's Vision of Saints Jerome and John the Baptist

Gabriele Fattorini in Carl Brandon Strehlke and Machtelt Brüggen Israëls, The Bernard and Mary Berenson Collection of European Paintings at I Tatti (Milan, 2015), pp. 433, 436, 437.

Florence, Palazzo Pitti, Galleria Palatina, Il Sogno nel Rinascimento, May 21 – September 15, 2013, no. 34; traveled to Paris, Musée du Luxembourg, 2013–2014 .

Gabriele Fattorini, “Matteo di Giovanni’s ‘St. Jerome’ for the notaries’ Guild of Siena,” Burlington Magazine 154 (2012), p. 472, ill.

Mariarosa Cortesi, Leggere I padre tra passato e presente (Florence, 2010), p. 167.

Atlanta, GA, High Museum of Art, The “Gates of Paradise”: Lorenzo Ghiberti’s Renaissance Masterpiece, April 28-July 15, 2007; Art Institute of Chicago, July 28-October 13, 2007; Metropolitan Museum of Art, October 30, 2007-January 13, 2008 [Chicago Only].

London, National Gallery, Renaissance Siena: Art for a City, October 24, 2007 – January 13, 2008, no. 37.

Alison Wright, The Pollaiuolo Brothers: The Arts of Florence and Rome (New Haven, 2005), p. 418.

Dóra Sallay, “Nuove considerazioni su due tavole d’altare di Matteo di Giovanni: La struttura della pala Placidi di San Domenico e della pala degli Innocenti di Sant’Agostino a Siena,” Prospettiva 112 (2003), p. 89 n. 4.

Helen I. Roberts, “Saint Augustine in ‘St. Jerome’s Study’: Carpaccio’s Painting and Its Legendary Source,” Art Bulletin 41 (1959), p. 289, ill.

Beatrice Wilczynski, “Matteo di Giovanni: Two Episodes from the Life of Saint Jerome,” Art Institute of Chicago Quarterly 50 (1956), pp. 74–76, ill.

George Kaftal, Saints in Italian Art: Iconography of the Saints in Tuscan Painting (Florence, 1952), pp. 256, 529, 532.

Raimond van Marle, The Development of the Italian Schools of Painting, vol. 16 (The Hague, 1937), pp. 342–43.

Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 301.

M. Gengaro, “Matteo di Giovanni,” La Diana 9 (1934), pp. 166–68.

bequeathed to the Art Institute, 1933.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 181, no. 1687.25.

William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, (unpub. MS, 1932, Archives, The Art Institute of Chicago), n. p.

Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 350.

sold by Colnaghi to Martin A. Ryerson (d. 1932), Chicago, 1925 [according to Colnaghi’s invoice, Ryerson papers, Art Institute archives]

Lionello Venturi, Pitture italiane in America (Milan, 1931), pl. CCXXVII.

Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago,” (unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago), pp. 41–43.

Rose Mary Fischkin, “Two Paintings by Matteo di Giovanni,” Art Institute Bulletin 20 (1926), pp. 30–32, fig. 2.

on loan to the Art Institute from 1925

Fogg Art Museum, Harvard University: Collection of Mediaeval and Renaissance Paintings (Cambridge, Massachusetts, 1919), p. 128.

J. A. Crowe and G. B. Cavalcaselle, A History of Painting in Italy, T. Borenius ed., 2d ed., vol. 5 (New York, 1914), p. 184 n. 2.

Gustav Friedrich Hartlaub, Matteo da Siena und seine Zeit (Strasbourg, 1910), pp. 117–18, 139.

Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed. (New York and London, 1909), p. 194.

London, Burlington Fine Arts Club, Pictures of the School of Siena and Examples of the Minor Arts of That City, 1904, no. 43.

Placidi altarpiece, Chapel of Saint Jerome, Church of San Domenico, Siena, from 1476 until the dismemberment of the altarpiece sometime between 1784 and 1803 [Trimpi 1983 identified this painting, The Dream of Saint Jerome (1933.1018), and The Crucifixion, now in a private collection, as from the predella of the altarpiece on the basis of Mons. Francesco Bossio, Visita apostolica (1575), Siena, Archivio Arcivescovile, MS. 21, fol. 678r–678v and an August 23, 1803 inventory of pictures from San Domenico in the Palazzo Pubblico, Siena, Archivio di Stato Biccherna 1089, fol. 459r–460v]. Possibly removed to Palazzo Pubblico, Siena, by 1803 [according to Trimpi 1983, who cites the inventory referenced above]. Adelbert Wellington, third Earl Brownlow (d. 1921), Ashridge Park, Berkhamsted, by 1904 [according to the London 1904 exhibition catalogue], sold as a pair with 1933.1018, Christie’s London, May 4, 1923, no. 26 (ill.), as Benvenuto di Giovanni, to Colnaghi for £850 [according to an annotated copy of the sale catalogue at Christie’s, London]

Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 151–58, ill.

Peter Anselm Riedl and Max Seidel, Die Kirchen von Siena, vol. 2, pt. 1, 2 (1992), pp. 620–22.

Shelley E. Zuraw, "Mino da Fiesole's First Roman Sojourn: The Works in Santa Maria Maggiore" in Verrocchio and Late Quattrocento Italian Sculpture, ed., Steven Bule, Alan Phipps Darr and Fiorella Superbi Gioffredi (Florence, 1992), pp.313-14.

Piero Torriti, La Pinacoteca nazionale di Siena: i dipinti (Genoa, 1990), p. 260.

New York, The Metropolitan Museum of Art, Painting in Renaissance Siena, 1420–1500, December 20, 1988 – March 19, 1989, no. 49c.

John Pope-Hennessy, “Whose Flagellation?” Apollo 124 (1986), pp. 163–65.

Edwin Hall and Horst Uhr, “Aureola super Auream: Crowns and Related Symbols of Special Distinction for Saints in Late Gothic and Renaissance Iconography,” Art Bulletin 67 (1985), p. 578, fig. 8.

Erica Trimpi, “A Re-attribution and Another Possible Addition to Matteo di Giovanni’s Placidi Altarpiece,” Burlington Magazine 127 (1985), pp. 363–67, fig. 29.

Erica Trimpi, “Iohannem Baptistam Heironymo aequalem et non maiorem: A Predella for Matteo di Giovanni’s Placidi Altarpiece,” Burlington Magazine 125 (1983), pp. 457–66, fig. 6.

Fredrika Herman Jacobs, “Carpaccio’s Vision of S. Augustine and S. Augustine’s Theories of Music,” Studies in Iconography 6 (1980), p. 83 n. 4.

Denys Sutton, “Robert Langton Douglas: An Annus Mirabilis,” Apollo 59 (1979), p. 304, fig. 21.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 139, 376, 408.

T. Buddensieg, “Criticism of Ancient Architecture in the Sixteenth and Seventeenth Centuries,” in Robert Ralph Bolgar, ed., Classical Influences on European Culture, A.D. 1500–1700 (Cambridge, England, 1971), p. 338 n. 5.

Gustina Scaglia, “Fantasy Architecture of Roma antica,” Arte lombarda 15, 2 (1970), pp. 17–18, ill.

Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London, 1968), p. 258.

Sara Ekwall, “Ett ikonografiskt Birgittaproblem,” Konsthistorisk Tidskrijt 37 (1968), pp. 15–18, ill.

Franco Russoli, La raccolta Berenson (Milan, 1962), p. XLIX.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 306.

Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517.