Gerard Hoet. Catalogus of Naamlyst van Schilderyen, met derzelver pryzen, zedert een langen reeks van Jaaren zoo in Holland als op andere Plaatzen in het openbaar verkogt. 1, The Hague, 1752, pp. 125, no. 12, p. 132, no. 9, p. 135, no. 15, p. 240, no. 2, lists four paintings by Breenbergh of this subject in four sales in Amsterdam in the early eighteenth century, including their sale prices, all possibly this picture.
[F. C. Joullain]. Répertoire de tableaux, dessins et estampes, ouvrage utile aux amateurs: premiere partie. Paris, 1783, p. 26, records the price at the Randon de Boisset sale of 1777 as "5019 liv. 19 f.".
Alfred von Wurzbach. Niederländisches Künstler-Lexikon. 1, Vienna, 1906, p. 179, lists it as formerly in the collections of Randon de Boisset and, erroneously, Gerrit Braamcamp.
Ebria Feinblatt. "Note on Paintings by Bartholomeus Breenbergh." Art Quarterly 12 (1949), pp. 268, 271, fig. 3.
Clara Bille. De Tempel der Kunst of het Kabinet van den Heer Braamcamp. Amsterdam, 1961, vol. 2, p. 90, clarifies that the MMA painting was not the work once owned by Gerrit Braamcamp.
"Notable Works of Art Now on the Market." Burlington Magazine (Supplement) 111 (June 1969), unpaginated, pl. XXIX, as at the Schweitzer Gallery, New York; erroneously as formerly in the collections of Rubens and Gerrit Braamcamp.
Jacques Foucart in Le siècle de Rembrandt: Tableaux hollandais des collections publiques françaises. Exh. cat., Petit Palais. Paris, 1970, p. 29, under no. 28, relates it to Breenbergh's "Christ Healing the Sick" (Musée du Louvre, Paris), dated 163[?].
R. H. Fuchs. "Rembrandt en Italiaanse Kunst: opmerkingen over een verhouding." Neue Beiträge zur Rembrandt-Forschung. Berlin, 1973, pp. 80–81, fig. 33, compares it with Rembrandt's oil sketch of the same subject in Berlin, finding Breenbergh's landscape more stagelike and Italianate.
E. Bénézit. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs. new ed. Paris, 1976, vol. 2, p. 292.
Luigi Salerno. Pittori di paesaggio del Seicento a Roma; Landscape Painters of the Seventeenth Century in Rome. Rome, 1976–80, vol. 1, pp. 239–40, fig. 41.22; vol. 3, p. 1000 n. 25, states that "the figures are taken from German prints, or perhaps from the 'Habiti militari' by Filippo Napoletano, and they seem to anticipate similar figures by Salvator Rosa".
Marcel Roethlisberger. Bartholomeus Breenbergh: The Paintings. Berlin, 1981, pp. 17, 68, 80, no. 165, ill. (overall and detail), notes that the ruined amphitheater is inspired by the Coliseum and that the soldier leaning on a staff at lower right also appears in a painting of the same subject by P. Schoubroeck, in a print by Callot of Saint Amond preaching, and in a drawing by Filippo Napoletano.
Bob Haak. The Golden Age: Dutch Painters of the Seventeenth Century. New York, 1984, p. 144, fig. 298, as whereabouts unknown.
Lisa Vergara. "New York: Roman Landscapes at Feigen." Burlington Magazine 127 (June 1985), p. 405.
Ann Jensen Adams. Dutch and Flemish Paintings from New York Private Collections. Exh. cat., National Academy of Design. New York, 1988, p. 39, no. 7, ill. pp. 24–25 (color).
Ben Broos. Great Dutch Paintings from America. Exh. cat., Mauritshuis. The Hague, 1990, pp. 197–203, no. 14, ill. (color), gives an extensive discussion of the provenance of the picture, identifying the MMA work as the one included in sales in Amsterdam in 1708 and 1709 [see Ref. Hoet 1752].
Frederik J. Duparc and Linda L. Graif. Italian Recollections: Dutch Painters of the Golden Age. Exh. cat., Montreal Museum of Fine Arts. Montreal, 1990, pp. 98–99, no. 23, ill. (color), see the influence of Paul Bril.
Marcel George Roethlisberger. Bartholomeus Breenbergh. Exh. cat., Richard L. Feigen & Co. [New York], 1991, pp. 32–35, no. 12, ill. (color).
Walter Liedtke in "Recent Acquisitions, A Selection: 1991–1992." Metropolitan Museum of Art Bulletin 50 (Fall 1992), p. 31, ill. (color).
Paul Jeromack. "Met Buys Breenbergh after Twenty-year Lapse." Art Newspaper no. 15 (February 1992), p. ?, ill., discusses the provenance of the picture.
Seymour Slive. Dutch Painting 1600–1800. New Haven, 1995, p. 227, fig. 306 (color).
JoLynn Edwards. Alexandre-Joseph Paillet: Expert et marchand de tableaux à la fin du XVIIIe siècle. Paris, 1996, p. 310.
Ruud Priem. "The 'most excellent collection' of Lucretia Johanna van Winter: The Years 1809–22, with a Catalogue of the Works Purchased." Simiolus 25, no. 2/3 (1997), pp. 121, 123, 188, 218, no. 28, fig. 31, provides new provenance information.
Mariët Westermann. Rembrandt. London, 2000, p. 118, fig. 73 (color).
Judikje Kiers and Fieke Tissink. The Glory of the Golden Age. Exh. cat., Rijksmuseum, Amsterdam. Zwolle, The Netherlands, 2000, pp. 143, 342, no. 91, ill. (color and black and white).
Susan Donahue Kuretsky. Time and Transformation in Seventeenth-Century Dutch Art. Exh. cat., Frances Lehman Loeb Art Center. Poughkeepsie, 2005, pp. 31, 211, 214–16, no. 53, ill. (color).
Lynn Federle Orr in Time and Transformation in Seventeenth-Century Dutch Art. Exh. cat., Frances Lehman Loeb Art Center. Poughkeepsie, 2005, pp. 89–90.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), p. 64, fig. 76 (color).
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 95–100, no. 22, colorpl. 22, fig. 18 (color detail).
Ingrid Ciulisová. "Acquired and Dispersed: The Collections of Grazioso Enea Lanfranconi and Baron Karl Kuffner." Ars 40, no. 1 (2007), p. 62, fig. 7.
Walter Liedtke. "The Milkmaid" by Johannes Vermeer. Exh. cat., The Metropolitan Museum of Art. New York, 2009, p. 21.
Ingrid Ciulisová. Men of Taste: Essays on Art Collecting in East-Central Europe. Bratislava, 2014, pp. 93, 106–7 n. 11, fig. 8 (color).