Roger Fry. Letter to Sir Purdon Clarke. December 31, 1905 [published in Ref. Sutton 1972, vol. 1, letter no. 166, p. 246], again urges the acquisition of this picture by the Museum.
Roger Fry. Letter to Sir Purdon Clarke. December 11, 1905 [published in Ref. Sutton 1972, vol. 1, letter no. 164, p. 245], recommends that the Museum acquire this picture, which he attributes to Lotto.
Royal Cortissoz. "At the Museum. A Survey of the Conditions under the New Regime." New York Daily Tribune (April 22, 1906), p. ? [see Ref. Sutton 1972], rejects the attribution to Lotto, calling it "too cold and nerveless to do justice to that memorable name".
Roger Fry. Letters. January–March 1906 [published in Ref. Sutton 1972, vol. 1, letter no. 173, p. 251].
Roger Fry. Letter to G. L. Dickinson. March ?, 1906 [published in Ref. Sutton 1972, vol. 1, letter no. 183, p. 259].
R[oger]. E. Fry. "Some Recent Acquisitions of the Metropolitan Museum, New York." Burlington Magazine 9 (May 1906), p. 136, pl. I.
"Principal Accessions." Metropolitan Museum of Art Bulletin 1 (April 1906), p. 73, attributes it to Lotto and calls it an early work; suggests that the sitter may be a Jesuit.
Morton H. Bernath. New York und Boston. Leipzig, 1912, p. 82, as by Lotto.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 310, lists it as by Lotto.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 266.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 196–97, ill., attributes it to Lotto; detects a German influence in the hardness of line and texture and in the contemplative mood.
Anna Banti and Antonio Boschetto. Lorenzo Lotto. Florence, , pp. 109, 137, reject the attribution to Lotto, suggesting a northern painter in contact with some Venetian provincial school, possibly in the region of Friuli.
Luigi Coletti. Lotto. Bergamo, 1953, pl. 121a.
Pietro Zampetti. Mostra di Lorenzo Lotto. Exh. cat., Palazzo Ducale. Venice, 1953, p. 149, no. 89 bis, rejects the attribution to Lotto, noting mannerist elements and possible Emilian influence.
Bernard Berenson. Lotto. 3rd ed. Milan, 1955, p. 138, pl. 284 [English ed., "Lorenzo Lotto," New York, 1956, p. 103, pl. 284], states that the sitter is probably a physician; calls it Lottesque but questions the attribution, comparing it with a portrait in the National Gallery, London, then tentatively attributed to Pontormo, now called "?Florentine School" (no. 1150).
Piero Bianconi. Tutta la pittura di Lorenzo Lotto. Milan, 1955, p. 77, lists it under works attributed to Lotto.
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 106 [rev., enl. ed., 1989].
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 234, 527, 605.
Letters of Roger Fry. New York, 1972, vol. 1, pp. 25–26, 245 n. 3 to letter no. 164 (December 11, 1905), p. 246 n. 1 to letter no. 166 (December 31, 1905), p. 255 n. 1 to letter no. 177 (March 2, 1906).
Giordana Mariani Canova in L'opera completa del Lotto. Milan, 1975, p. 125, no. 377, rejects the attribution to Lotto, suggesting that it might be a Brescian work.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, p. 77, pl. 68, attribute it to a north Italian painter, stating that it "shows an unusual mixture of Venetian and northern elements" and that "the minute, hard handling of the paint suggests an artist with Flemish or German training"; state that the costume, books, and skull indicate that the sitter was probably an ecclesiastic.