G[iovanni]. B[attista]. Cavalcaselle and J[oseph]. A[rcher]. Crowe. Storia della pittura in Italia. 3, 2nd ed. Florence, 1899, p. 327, tentatively attribute it to Lorenzo Monaco, stating that it recalls the style of Fra Angelico
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. "Giotto and the Giottesques." A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century. 2, repr. 1923. London, 1903, p. 301.
Osvald Sirén. Don Lorenzo Monaco. Strasbourg, 1905, p. 160, attributes it to Fra Angelico.
G[eorg]. Voss. "Herzogthum Sachsen-Meiningen." Bau- und Kunst-Denkmäler Thüringens. 34, Jena, Germany, 1909, pp. 165–66, attributes it to Fra Angelico.
P. Innocenz M. Strunk. Fra Angelico aus dem Dominikanerorden. Mönchengladbach, 1916, pp. 129–30, suggests that it might be an early work by Fra Angelico.
Frida Schottmüller. Fra Angelico da Fiesole. 2nd ed. Stuttgart, 1924, p. 260, ill. p. 93.
Raimond van Marle. "The Renaissance Painters of Florence in the 15th Century." The Development of the Italian Schools of Painting. 10, The Hague, 1928, pp. 92–93, attributes it to Fra Angelico and dates it before the frescoes in the Convento di San Marco, Florence.
Roberto Longhi. Letter to Carlo Sestieri. December 6, 1961, attributes it to Fra Angelico and dates it 1425–30, shortly after the altarpiece in the church of San Domenico, Fiesole.
Martin Davies. The Earlier Italian Schools. 2nd ed., rev. London, 1961, p. 32, under no. 582, observes that it is about the same size as the Adoration of the Magi in the National Gallery, London, and the Marriage of the Virgin and Death of the Virgin in San Marco, Florence, stating that "some or all of these may perhaps be thought to have come originally from the same altarpiece".
Mario Salmi. Letter to Carlo Sestieri. January 31, 1962, attributes it to Fra Angelico and dates it about 1434–36.
Federico Zeri. Letter to Mrs. Natheniel P. Hill. May 25, 1962, attributes it to Fra Angelico.
Umberto Baldini in L'opera completa dell'Angelico. Milan, 1970, p. 117, no. 135, lists it among other works attributed to Fra Angelico.
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, pp. 61–62, ill. (color), attributes it to the workshop of Fra Angelico and dates it about 1440; considers it probably the center scene of a predella and associates it with panels depicting the Temptation of Saint Anthony (Museum of Fine Arts, Houston), Saint Romuald Appearing to the Emperor Otto III (Koninklijk Museum voor Schone Kunsten, Antwerp), Saint Benedict in Ecstasy (Musée Condé, Chantilly), and the Penitence of Saint Julian(?) (Musée Thomas Henry, Cherbourg).
Miklós Boskovits. Letter to Keith Christiansen. February 18, 1984, states that it "could go with the Antwerp-Chantilly-Cherbourg series, stylistically at least".
Dillian Gordon. The Fifteenth Century: Italian Paintings. 1, London, 2003, pp. 422, 424 nn. 4–5, 7, under no. NG 582, fig. 1 (color), as Attributed to Zanobi Strozzi; states that it is almost certainly from the same predella as the Adoration in London [see Ref. Davies 1961] which she dates about 1433–34.
Carl Brandon Strehlke. Italian Paintings 1250–1450 in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004, p. 59.
Laurence Kanter in Fra Angelico. Exh. cat., The Metropolitan Museum of Art. New York, 2005, pp. 242–45, no. 44C, ill. p. 244 (color) and fig. 145 (color, reconstruction), states that it formed the center of a predella with the London panel at right, and identifies the central panel of the altarpiece as a Madonna and Child Enthroned (State Hermitage Museum, St. Petersburg), which was flanked by panels depicting Saints John the Baptist, Lawrence, and Nicholas of Bari (Hyde Collection, Glens Falls, N.Y.) and Saints Zenobius, Francis, and Anthony of Padua (Yale University Art Gallery, New Haven); states that although the patron and original location of the altarpiece are unknown, it must have been painted for a Franciscan church in Florence; dates the altarpiece to the late 1430s or about 1440 and attributes it to Zanobi Strozzi, possibly with some intervention from Fra Angelico.