Albert Blankert. Johannes Vermeer van Delft, 1632–1675. Utrecht, 1975, p. 13, fig. 3 [English ed., "Vermeer of Delft," Oxford, 1978, p. 11, fig. 4].
Alfred Bader. The Bible through Dutch Eyes: From Genesis through the Apocrypha. Exh. cat., Milwaukee Art Center. Milwaukee, 1976, p. 102, fig. 23, under no. 46.
John Michael Montias. Artists and Artisans in Delft: A Socio-Economic Study of the Seventeenth Century. Princeton, 1982, p. 148, fig. 6, dates it to the 1630s.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 180, calls it an "especially attractive, small-scale history painting".
Albert Blankert in Vermeer. Paris, 1986, p. 71, fig. 48 (color) [English ed., Rizzoli, New York, 1988], repeats Ref. Blankert 1975.
Michiel Plomp. "'Een merkwaardige verzameling Teekeningen' door Leonaert Bramer." Oud Holland 100, no. 2 (1986), p. 110 n. 5, under no. 14, compares it with a lost painting by Christiaen van Couwenbergh, "Historical Subject (Semiramis Commanding Her Husband's Death)" (known through a drawing by Bramer; Rijksprentenkabinet, Rijksmuseum, Amsterdam).
Wolfgang C. Maier-Preusker. "Christiaen van Couwenbergh (1604–1667), Œuvre und Wandlungen eines holländischen Caravaggisten." Wallraf-Richartz-Jahrbuch 52 (1991), pp. 189, 235 n. 98, accepts Montias's dating to the 1630s [see Ref. 1982] and suggests that Van Couwenbergh borrowed the motif of the extended sceptre in his lost painting of Semiramis [see Ref. Plomp 1986] from the one in the MMA work.
Jane ten Brink Goldsmith et al. Leonaert Bramer, 1596–1674: Ingenious Painter and Draughtsman in Rome and Delft. Exh. cat., Stedelijk Museum Het Prinsenhof, Delft. Zwolle, The Netherlands, 1994, p. 172, fig. 48a, under no. 48, discusses it in connection with another version of the subject by Bramer (St. Annen-Museum, Lübeck).
Walter Liedtke et al. Vermeer and the Delft School. Exh. cat., The Metropolitan Museum of Art. New York, 2001, pp. 65–66, fig. 68, dates it about 1640; compares it with the lost painting by Van Couwenbergh [see Ref. Plomp 1986] of about the same date, concluding that "the two painters were working along parallel lines" at this time.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 90–93, no. 21, colorpl. 21, fig. 17 (color detail), dates it to the 1640s.