W[illiam]. M[ichael]. Rossetti in Alexander Gilchrist. Life of William Blake, "Pictor Ignotus": with Selections from his Poems and Other Writings. London, 1863, vol. 2, p. 225, no. 132, describes it as "The Angel appearing to Zacharias", a tempera in the collection of Capt. Butts: "Rich in colour and accessories, such as the altar-candlestick. The surface is considerably decayed".
William Michael Rossetti in Alexander Gilchrist. Life of William Blake, with Selections from his Poems and Other Writings. new, enl. ed. London, 1880, vol. 2, p. 238, no. 158.
A. G. B. Russell in Allgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme and Felix Becker. Vol. 4, Leipzig, 1910, p. 87, in the collection of Miss Dodge.
Darrell Figgis. The Paintings of William Blake. New York, 1925, pp. xi, 45, 117, pl. 38, dates it ?about 1800, and finds that "in the figure of Zacharias, and in the heavy darkness surrounding the immediate scene, the influence of Rembrandt shows strongly".
William Blake, 1757–1827. Exh. cat., Galerie René Drouin. Paris, 1947, ill. opp. p. 25.
Geoffrey Keynes, ed. William Blake's Illustrations to the Bible. Clairvaux, 1957, p. 26, no. 90, ill. p. 27.
Paul Miner. "Visions in the Darksom Air: Aspects of Blake's Biblical Symbolism." William Blake: Essays for S. Foster Damon. Ed. Alvin H. Rosenfeld. Providence, 1969, p. 470 n. 44, states that Blake "delineates with considerable accuracy the priestly clothing of Aaron" ("the golden mitre and its gold plate," breastplate, ephod [jacket], and blue robe, with, "at its hem," tinkling "golden bells and pomegranates").
David Bindman. Blake as an Artist. Oxford, 1977, pp. 121, 126, 242–43 n. 23, colorpl. II, suggests that Blake may have consulted an engraving after Rembrandt's Christ presented to the People.
Martin Butlin. The Paintings and Drawings of William Blake. New Haven, 1981, vol. 1, p. 324, no. 400; vol. 2, colorpl. 501.
Elizabeth E. Barker in Robin Hamlyn and Michael Phillips. William Blake. Exh. cat., Tate Britain, London. New York, 2001, pp. 62, no. 44, p. 299, no. 15 , c. 1799–1800, "in the richly textured glue and watercolour technique he later dubbed 'portable fresco'".
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 178–80, no. 88, ill. (color).
Jonny Yarker in British Art. Exh. cat., Lowell Libson Ltd at Stellan Holm, New York. London, 2015, p. 69, ill. p. 66 (color).