Lionello Venturi. Letter. August 3, [1939?], attributes these two paintings to Piero di Cosimo.
Robert Langton Douglas. "The Fall of Man by Piero di Cosimo." Burlington Magazine 86 (June 1945), pp. 134–39, pl. I (overall and details), dates them 1500 or soon after, and notes that another critic has ascribed them to Bugiardini.
Robert Langton Douglas. "The Fall of Man by Piero di Cosimo: A Postscript." Burlington Magazine 87 (September 1945), p. 233.
Robert Langton Douglas. Piero di Cosimo. Chicago, 1946, pp. 64–71, 77, 114, pls. XLVI–II (overall and detail), as in a private collection, New York.
Paola Morselli. "Ragioni di un pittore fiorentino: Piero di Cosimo (continua)." L'arte, n.s., 56 (July–December 1957), p. 144, concurs with the attribution to Piero di Cosimo.
Paola Morselli. "Piero di Cosimo, saggio di un catalogo delle opere." L'arte, n.s., 57 (January–March 1958), p. 82.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 45; vol. 2, pl. 1262 (detail), attributes them to Bugiardini.
Mina Bacci. Piero di Cosimo. Milan, 1966, p. 124, pl. 67 (overall and details), lists them, under works erroneously attributed to Piero di Cosimo, as more probably by Bugiardini, and compares them with Bugiardini's paintings of Leda (Treccani collection, Milan) and Venus (private collection, Florence).
S[ilvia]. Meloni Trkulja in Dizionario biografico degli italiani. 15, Rome, 1972, p. 17, attributes them to Bugiardini and calls them late works.
Laura Pagnotta. Giuliano Bugiardini. Turin, 1987, pp. 10, 19, 57, 215–16, no. 53, figs. 53, 53a–b (overall and details), as by Bugiardini, most probably from 1526–28, immediately following his trip to Bologna and possibly influenced by works of Perino del Vaga in Florence.
Laura Pagnotta. "Due dipinti e un disegno di Giuliano Bugiardini." Antichità viva 31, no. 2 (1992), pp. 13–14, states that a painting of an allegorical figure (private collection, Switzerland) was attributed to Bugiardini by Mina Bacci and Everett Fahy on the basis of its stylistic affinities with these paintings.