626, identifies the subject as the Chariot of Aurora states that it must have been painted soon after Tiepolo's arrival in Madrid as a sketch for a ceiling in the royal palace, adding that Mengs painted a Chariot of Aurora for the queen's bedroom in 1763. "Review of Gemin and Pedrocco 1993." Burlington Magazine 137 (September 1995), p. 469, ill., call it Venus and Apollo find it similar to the study of 1758 (MMA 37.165.2) for the Saint Thecla altarpiece, and believe that Tiepolo probably painted it in Venice and then brought it to Madrid. Giambattista Tiepolo: i dipinti, opera completa. 282, ill., calls it Venus and Apollo dates it about 1762–66 and notes that Bacchus and the swans are new details in the artist's repertoire. Anna Pallucchini in L'opera completa di Giambattista Tiepolo.
253, calls it a modello for a ceiling possibly never carried out. A Complete Catalogue of the Paintings of G. 124, attributes it to Giovanni Battista Tiepolo and calls it Allegory with Venus and Apollo dates it about 1662–70 states that it was formerly in the Van Dieman Gallery, Berlin mentions it among works he calls "ideas" for ceiling decorations.
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