Aldobrandini inventory. 1603, no. 244 [Archivio di Casa Aldobrandini; published in Cesare d'Onofrio, "Inventario dei dipinti del cardinal Pietro Aldobrandini compilato da G. B. Agucchi nel 1603," Palatino 8 (September–December 1964), p. 207], as "La coronazione della Madonna, di mano del 'Caraccio'".
Aldobrandini inventory. 1626, no. 244 [Archivio Segreto Vaticano, Fondo Borghese, vol. 6219; published in Della Pergola 1960], as "119. Un quadro con la Coronatione della Mad.a di mano dell''Carraccioli' del n. 244".
[Giovanni Pietro Bellori]. Nota delli musei, librerie, gallerie et ornamenti di statue e pitture ne' palazzi, nelle case, e ne' giardini di Roma. Rome, 1664, p. 7 [reprinted in Ref. Zocca 1976], as in the "Giardino Aldobrandino a Monte Magnanapoli".
Aldobrandini inventory. n.d. [before 1665], no. 244 [Archivio di Casa Aldobrandini; published in Cesare d'Onofrio, "Inventario dei dipinti del cardinal Pietro Aldobrandini compilato da G. B. Agucchi nel 1603," Palatino 8 (September–December 1964), p. 207].
Gio[vanni]. Pietro Bellori. Le vite de' pittori, scultori e architetti moderni. Rome, 1672, p. 84, lists it in the Villa Aldobrandini.
Carlo Cesare Malvasia. Felsina pittrice: vite de' pittori bolognesi. Bologna, 1678, vol. 1, p. 501 [1841 ed., Bologna, ed. Giampietro Zanotti, vol. 1, p. 358], lists it in the Villa Aldobrandini.
Aldobrandini inventory. 1682, no. 361 [Archivio Segreto Vaticano, Fondo Borghese, vol. 34; published in Ref. Della Pergola 1963].
[André] Félibien. Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes. 2nd ed. Paris, 1696, vol. 2, p. 80 [1705 ed., vol. 3, p. 213; 1725 ed., vol. 3, p. 273].
Pietro Rossini. Il Mercurio errante. 7th ed. Rome, 1750, vol. 2, p. 29, as in the Villa Aldobrandini.
Ridolfino Venuti. Accurata, e succinta descrizione topografica e istorica di Roma moderna. Rome, 1767, vol. 1, p. 138, as in the Villa Pamphili.
[Joseph Jerome Le Francis de Lalande]. Voyage d'un françois en Italie, fait dans les années 1765 & 1766. Venice, 1769, vol. 3, p. 447, as in the Villa Pamphili in 1765–66.
Catalogue raisonné des différens objets de curiosités dans les sciences et arts, qui composoient le cabinet de feu Mr Mariette . . . . Basan, Paris. 1775, p. 49, under no. 303, under the entry for the drawing now in Dijon, mentions that the related painting is in Rome.
Friedrich Wilhelm Basilius von Ramdohr. Ueber Mahlerei und Bildhauerarbeit in Rom fuer Liebhaber des Schoenen in der Kunst. Leipzig, 1787, vol. 1, p. 308, lists it in the apartments of Prince Aldobrandini in the Palazzo Borghese.
Mariano Vasi. Itinerario istruttivo di Roma. Rome, 1794, vol. 1, p. 397, as in the apartments of Prince Aldobrandini in the Palazzo Borghese.
James Irvine. Letter to William Buchanan. May 16, 1803 [published in Ref. Buchanan 1824], writes that it is in the collection of Alexander Day in Rome, that Day acquired it from the Aldobrandini villa, and that he plans to sell it.
W[illiam]. Buchanan. Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution. London, 1824, vol. 2, p. 7, no. 27, pp. 9–10, 135–36, as "The Holy Family," in the collection of Alexander Day, from the Aldobrandini villa.
William Buchanan. Letter to Johann Georg von Dillis [agent for Ludwig I, King of Bavaria]. July 9, 1827, writes that it is for sale for 1,500 guineas.
William Buchanan. Letter to Johann Georg von Dillis. August 30, 1827, mentions that it has been engraved by Freji [Frey] in 1741 [see Notes].
Mrs. Jameson. Companion to the Most Celebrated Private Galleries of Art in London. London, 1844, pp. 389, 392–93, no. 7, lists it in the collection of Samuel Rogers and notes the influence of Correggio.
"Rogers's Treasures." Athenæum no. 1470 (December 29, 1855), p. 1533, mentions it hanging in the drawing room of Samuel Rogers's house.
W. Burger [Théophile Thoré]. Trésors d'art exposés à Manchester en 1857. Paris, 1857, p. 101, as in the collection of the Duke of Newcastle.
[Émile Gleize]. Catalogue historique et descriptif du Musée de Dijon. Dijon, 1883, p. 230, under no. 785, catalogues a Carracci drawing of the Coronation of the Virgin in Dijon, referring to the MMA picture as a similar painting formerly in the collection of Prince Pamphili, Rome.
George Redford. Art Sales. London, 1888, vol. 1, p. 152, reprints Ref. Athenæum 1855.
W. J. Hipkin. Descriptive Catalogue of the Pictures . . . belonging to . . . the Duke of Newcastle at Clumber House. 1914, p. 7 [see Ref. Mahon and Sutton 1955], with wrong title and erroneous provenance.
Denis Mahon. Studies in Seicento Art and Theory. London, 1947, pp. 40–42, 96 n. 155, fig. 11, notes that he acquired it in 1939; assigns it to Annibale's Roman period, and mentions it as representative of the classic tendency in Roman painting at the end of the sixteenth century.
Antonio Boschetto. "Per la conoscenza di Francesco Albani, pittore (1578–1660)." Proporzioni 2 (1948), pp. 111–12, 140 n. 19, fig. 126, locates it incorrectly in the collection of the Duke of Devonshire; assigns it to Annibale's last months in Bologna.
R[udolph]. Wittkower. The Drawings of the Carracci in the Collection of Her Majesty the Queen at Windsor Castle. London, 1952, p. 171, under no. 372a, dates it to the beginning of Annibale's Roman period.
Giuliano Briganti. "A Notable Private Collection—VIII: The Mahon Collection of Seicento Paintings." Connoisseur 132 (September 1953), pp. 5, 16, no. 4, fig. III, dates it probably 1596–97; states that it may have been commissioned by Pope Clement VIII Aldobrandini or a member of his family.
Denis Mahon and Denys Sutton. Artists in 17th Century Rome. Exh. cat., Wildenstein. London, 1955, pp. 26–28, no. 20.
Terence Mullaly. "Artists in XVIIth-century Rome." Apollo 62 (July 1955), p. 9, ill., dates it to the last years of the sixteenth century, soon after Annibale moved to Rome.
Denis Mahon. "Afterthoughts on the Carracci Exhibition (II)." Gazette des beaux-arts, 6th ser., 49 (May–June 1957), p. 284, dates it about 1596.
Rudolf Wittkower. Art and Architecture in Italy, 1600 to 1750. Baltimore, 1958, p. 337 n. 18.
Michael Jaffé. "Annibale and Ludovico Carracci: Notes on Drawings." Burlington Magazine 102 (January 1960), pp. 27–28, fig. 37, discusses it in relation to the drawing (Musée des Beaux-Arts, Dijon), dating the drawing to Carracci's Bolognese period, in the mid-1590s, and the painting soon after the artist's arrival in Rome.
Paola Della Pergola. "Gli inventari Aldobrandini." Arte antica e moderna no. 12 (October/December 1960), pp. 426–27, 432, 442, identifies it erroneously as no. 14 in the Aldobrandini inventory of 1611, and as no. 244 (119) in the Aldobrandini inventory of 1626.
Gerald Reitlinger. The Economics of Taste. Vol. , The Rise and Fall of Picture Prices, 1760–1960. London, 1961, p. 269, records prices fetched at sales of 1833, 1856, and 1937, erroneously listing seller in 1833 as Nieuwenhuys.
Keith Andrews. "An Early Guido Reni Drawing." Burlington Magazine 103 (November 1961), p. 462.
Paola Della Pergola. "Gli inventari Aldobrandini: L'inventario del 1682 (II)." Arte antica e moderna no. 21 (January/March 1963), pp. 77, 86, no. 361, lists it as no. 361 in the Aldobrandini inventory of 1682.
Benedict Nicolson in Great Private Collections. Ed. Douglas Cooper. New York, 1963, p. 120, ill. p. 121, dates it about 1596.
Francis H. Dowley. "'Art in Italy, 1600–1700' at the Detroit Institute of Arts." Art Quarterly 27, no. 4 (1964), pp. 520–21, fig. 1, suggests that the composition was inspired by Raphael's "Disputa" (Stanza della Segnatura, Vatican City).
Roseline Bacou in Le Cabinet d'un grand amateur: P.-J. Mariette, 1694–1774. Exh. cat., Musée du Louvre. Paris, 1967, p. 55, under no. 30, dates it about 1596.
Luciano Bellosi in Arte in Valdichiana dal XIII al XVIII secolo. Exh. cat., Fortezza del Girifalco. Cortona, 1970, p. 58, under no. 86, dates it between 1595 and 1600.
Donald Posner. Annibale Carracci: A Study in the Reform of Italian Painting around 1590. New York, 1971, vol. 1, pp. 83–84, 166 n. 45; vol. 2, p. 41, no. 94, pl. 94a, dates it about 1596–97.
Catherine Johnston. Il seicento e il settecento a Bologna. Milan, 1971, p. 82, under pl. XI.
Selected, introduced, and annotated by Frank Herrmann. The English as Collectors: A Documentary Chrestomathy. New York, 1972, pp. 254, 257, 259, fig. 67, reprints excerpts from Refs. Jameson 1844 and Athenæum 1855.
[John Pope-Hennessy]. "Rehabilitating an Eclectic." Times Literary Supplement (September 22, 1972), pp. 1103–4, states that it "seems to have been painted in Rome in 1595"; notes Posner's [see Ref. 1971] emphasis on the influence of Raphael, but finds that Correggio's dome painting in San Giovanni Evangelista, Parma, was a more fundamental source for the composition.
A. W. A. Boschloo. "Annibale Carracci—A Study in the Reform of Italian Painting around 1590, by D. Posner." Paragone 23 (July 1972), pp. 72, 76.
Everett Fahy in "Outstanding Recent Accessions." Metropolitan Museum of Art Bulletin 30 (February/March 1972), p. 208, ill. p. 208 and detail inside back cover, dates it probably 1596–97 and states that it was probably made for Pope Clement VIII.
A. W. A. Boschloo. Annibale Carracci in Bologna: Visible Reality in Art After the Council of Trent. The Hague, 1974, vol. 2, p. 209 n. 25, fig. 148, notes that it is the painting that first shows the close tie between Annibale and Agostino, rather than the drawing.
R. Ward Bissell. "Donald Posner, 'Annibale Carracci: A Study of the Reform of Italian Painting Around 1590'." Art Bulletin 56 (March 1974), p. 132.
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 91, ill., dates it about 1596 and states that it was made for Cardinal Aldobrandini.
Gianfranco Malafarina in L'opera completa di Annibale Carracci. Milan, 1976, p. 109, no. 88, ill. p. 108, dates it about 1596–97.
Cecil Gould. The Paintings of Correggio. London, 1976, p. 150, states that "Annibale copied Correggio's 'Coronation of the Virgin' in the S. Giovanni apse and was visibly affected by it when painting his own version of the subject," referring to this picture.
Marguerite Guillaume in Dessins du Musée des Beaux-Arts de Dijon. Exh. cat., Musée du Louvre. Paris, 1976, p. 40, under no. 72.
Emma Zocca, ed. Nota delli musei, librerie, gallerie & ornamenti di statue, e pitture, né palazzi, nelle case, e né giardini di Roma. By [Giovanni Pietro Bellori]. Rome, 1976, p. 11.
John Pope-Hennessy. "Correggio Revalued." Apollo 106 (August 1977), p. 157.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 294, fig. 530 (color).
A Dealer's Record: Agnew's, 1967–81. London, 1981, ill. p. 41.
Michael Jaffé. "'The Penitent Magdalene in a Landscape' by Annibale Carracci." Burlington Magazine 123 (February 1981), p. 91.
Charles Dempsey in The Age of Caravaggio. Exh. cat., The Metropolitan Museum of Art. New York, 1985, p. 116, no. 26, ill. p. 117 [Italian ed., "Caravaggio e il suo tempo," Naples, 1985], contrasts Carracci's approach to that of Caravaggio; notes the influence of Raphael's work in the Stanze and of Correggio's painting in the dome of the cathedral in Parma.
Anna Ottani Cavina in The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries. Exh. cat., National Gallery of Art. Washington, 1986, p. 287, no. 95, ill. p. 286 (color) [Italian ed., "Nell'età di Correggio e dei Carracci: Pittura in Emilia dei secoli XVI e XVII," Bologna, 1986].
Erich Schleier in La pittura in Italia: il Seicento. Ed. Mina Gregori and Erich Schleier. revised and expanded ed. Milan, 1989, vol. 1, p. 435, suggests that it was the first painting to form a part of the Aldobrandini collection; comments that its style embodies Roman "disegno" rather than Venetian "colore".
C[arel]. van Tuyll van Serooskerken in The Dictionary of Art. Ed. Jane Turner. Vol. 5, New York, 1996, p. 862, mentions it as an example of the revival of the influence of Correggio in Carracci's early Roman works, "though now seen through a Raphaelesque prism".
Gabriele Finaldi in Discovering the Italian Baroque: The Denis Mahon Collection. Exh. cat., National Gallery. London, 1997, pp. 38–39, no. 8, ill. (color).
Catherine Loisel Legrand in The Drawings of Annibale Carracci. Exh. cat., National Gallery of Art. Washington, 1999, p. 209, fig. 1, dates it about 1597–98, calling it probably contemporary with Carracci's first work in the Farnese Gallery; suggests that the picture may have been intended as a diplomatic gift.
Silvia Ginzburg Carignani. Annibale Carracci a Roma: gli affreschi di Palazzo Farnese. Rome, 2000, pp. 86, 90–91, fig. 45.
Erich Schleier, ed. Giovanni Lanfranco: Un pittore barocco tra Parma, Roma e Napoli. Exh. cat., Reggia di Colorno, Parma. Milan, 2001, pp. 152, 334, no. C5, ill. pp. 152 and 335 (color).
Elizabeth A. Pergam. ""Waking the Soul": The Manchester Art Treasures Exhibition of 1857 and the State of Arts in Mid-Victorian Britain." PhD diss., Institute of Fine Arts, New York University, 2001, vol. 1, p. 122 n. 148.
Marguerite Guillaume. Catalogue des dessins italiens: collections du Musée des Beaux-Arts de Dijon. Dijon, , p. 65, under no. 92.
Catherine Loisel. "Ludovico, Agostino, Annibale Carracci." Inventaire général des dessins italiens. Vol. 7, Paris, 2004, pp. 59–60.
Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 82, 86, 91.
Keith Christiansen. "Going for Baroque: Bringing 17th-Century Masters to the Met." Metropolitan Museum of Art Bulletin 62 (Winter 2005), pp. 27–28, fig. 24 (color), ill. inside front cover (color detail).
Daniele Benati in Annibale Carracci. Ed. Daniele Benati and Eugenio Riccòmini. Exh. cat., Museo Civico Archeologico, Bologna. Milan, 2006, pp. 277–78, 282, no. VI.3, ill. pp. 274–75, 283 (color, overall and detail).
Alessandro Brogi in Annibale Carracci. Ed. Daniele Benati and Eugenio Riccòmini. Exh. cat., Museo Civico Archeologico, Bologna. Milan, 2006, p. 280, under no. VI.2.
Silvia Ginzburg in Annibale Carracci. Ed. Daniele Benati and Eugenio Riccòmini. Exh. cat., Museo Civico Archeologico, Bologna. Milan, 2006, p. 340, under no. VII.21.
Natasja Peeters et al. in Rubens: A Genius at Work. Exh. cat., Royal Museums of Fine Arts of Belgium, Brussels. Tielt, Belgium, 2007, p. 169, fig. 2 (color).
Clare Robertson. The Invention of Annibale Carracci. Cinisello Balsamo, Milan, 2008, pp. 100–103, colorpl. 83b.
Roberto Zapperi. "Annibale Carracci e Odoardo Farnese." Bollettino d'arte 95 (October–December 2010), pp. 79, 97 n. 23.
Xavier F. Salomon. "Annibale Carracci e il cardinal Pietro Aldobrandini: considerazioni sulla collezione, la cappella e le lunette Aldobrandini." Nuova luce su Annibale Carracci. Ed. Sybille Ebert-Schifferer and Silvia Ginzburg. Rome, 2011, p. 191, fig. 4.