Hermann Voss. Letter. December 1935, attributes it to Carloni and identifies it as a study for a vault painting in the south nave of the cathedral at Monza.
Max Goering. Letters. April 2 and June 7, 1938, rejects the attribution to Carloni, considering the style closer to that of Menescardi or to southern German or Austrian work of the eighteenth century.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 290–91, ill.
Edoardo Arslan. Letter. April 21, 1952, calls it a sketch for a fresco by Carloni in the Monza cathedral.
Amalia Barigozzi Brini and Klára Garas. Carlo Innocenzo Carloni. Milan, 1967, pp. 74, 127, fig. 49, note that the frescoes in the chapel of Saint Anthony Abbot in the Monza cathedral for which this work is a study date from after 1744.
Oil Sketches by 18th Century Italian Artists from New York Collections. Exh. cat., The Metropolitan Museum of Art. [New York], 1971, p. 1, no. 3, relates the style to that of the artist's contemporaries in southern Germany and Austria, especially Franz Anton Maulpertsch.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 46, 373, 605.
Brigitte Langer in Carlo Carlone, 1686–1775: Der Ansbacher Auftrag. Exh. cat., Residenz Ansbach. Landshut, Germany, 1990, p. 67, fig. 31, dates it 1744.
Simonetta Coppa in I Carloni di Scaria. Lugano, 1997, pp. 283–84 n. 102, states that Carloni's contract for the decoration of the chapel of Saint Anthony dates from November 16, 1744, and that the artist received approval of his designs on September 9, 1745; notes that Antonio Longone collaborated with Carloni on the frescoes.